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Florida State University Libraries Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Little Death: Locating the Motivations of Bug Chasers Through Interview, Analysis, and Creative Work Joshua L. Potter Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION AND INFORMATION LITTLE DEATH: LOCATING THE MOTIVATIONS OF BUG CHASERS THROUGH INTERVIEW, ANALYSIS, AND CREATIVE WORK By JOSHUA L. POTTER A Thesis submitted to the School of Communication in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Summer Semester, 2009 The members of the committee approve the thesis of Joshua L. Potter defended on July 8, 2009. ___________________________________________ Donna Marie Nudd Professor Directing Thesis ___________________________________________ Gary R. Heald Committee Member ___________________________________________ Jeanette Castillo Committee Member ___________________________________________ Bruce Henderson Committee Member ___________________________________________ Carrie Sandahl Committee Member Approved: ___________________________________________ Stephen D. McDowell, Director, School of Communication ___________________________________________ Lawrence Dennis, Dean, College of Communication and Information The Graduate School has verified and approved the above-named committee members. ii ACKNOWLEDGEMENTS I would like to express my thanks to my thesis committee, Dr. Donna Marie Nudd, Dr. Gary Heald, Dr. Jeanette Castillo, Dr. Bruce Henderson, and Dr. Carrie Sandahl. Thank you all for the input, drafts, and meetings through out this process. I would especially like to thank Donna Marie Nudd for helping me become a better writer, critical thinker, teacher, and most of all a better performer. I could not ask for a better mentor over the last two years. I would also like to recognize Bruce Henderson who has been a mentor and a friend for the last five years. Thank you for your guidance and your confidence in me. My thanks also go to my friends, Joe, Alison, Ki, Rachel, Autumn, Shawn, Dylan, and Tim. Though we have only known each other for a short time, the late-night talks on the porch helped me in ways you cannot imagine. This work certainly would not be possible without the support of my family. Grandma, you have always been my biggest fan and I want to thank you for that. Mom and Dad, thank your for the emotional (and financial) support over the years. You have taught me that although Potters take the more difficult paths in life, we manage always to make it through. This thesis is certainly evidence of that. iii TABLE OF CONTENTS ABSTRACT ....................................................................................................................... vi CHAPTER ONE INTRODUCTION .................................................................................. 1 1.1 Theoretical Considerations ....................................................................................... 2 1.1.1 Dramatism .......................................................................................................... 2 1.1.2 Pentad ................................................................................................................. 3 1.1.3 Ratios ................................................................................................................. 3 1.1.4 Frames and Style ................................................................................................ 4 1.1.5 Motive ................................................................................................................ 5 1.2 Theoretical Considerations for Performance ............................................................ 5 1.2.1 Anna Deavere Smith .......................................................................................... 6 1.2.2 The Tectonic Theatre Project ............................................................................. 6 1.2.3 Caryl Churchill and Postmodern Theatre .......................................................... 6 1.3 Literature Review...................................................................................................... 7 1.3.1 Sexual Deviance and Homosexuality ................................................................ 7 1.3.2 Barebacking and Intentional Unprotected Anal Intercourse .............................. 9 1.3.3 Bug Chasing ....................................................................................................... 9 1.4 Methodology/Research Plan ................................................................................... 13 1.4.1 Participants ....................................................................................................... 13 1.4.2 Interviews ......................................................................................................... 14 1.4.3 Analysis............................................................................................................ 14 1.5 Performance Methodology ...................................................................................... 14 1.5.1 Audience .......................................................................................................... 14 1.5.2 Performers ........................................................................................................ 15 1.5.3 Performative Time-table .................................................................................. 15 1.5.4 Evaluation ........................................................................................................ 16 1.6 Preview ................................................................................................................... 16 CHAPTER TWO TRACKING The Gift .......................................................................... 17 2.1 Opening Sequence .................................................................................................. 17 2.2 Defining Jargon ....................................................................................................... 19 2.3 Bill and John’s Sex Dungeon .................................................................................. 21 2.4 Dr. Walt Odets and the Gay Community ................................................................ 22 2.5 HIV Support Group................................................................................................. 25 2.6 Doug’s Narrative ..................................................................................................... 27 2.7 Kenboy’s Narrative ................................................................................................. 28 2.8 Conclusion .............................................................................................................. 30 CHAPTER THREE INTERVIEWS TO STAGE ............................................................. 31 3.1 Interview One: Adam .............................................................................................. 31 3.2 Interview Two: Brian .............................................................................................. 33 3.3 Interview Three: Christopher .................................................................................. 35 3.4 Interview Four: Flotsam .......................................................................................... 37 3.5 Adapting and Revising ............................................................................................ 40 3.6 Casting and Rehearsing........................................................................................... 43 3.7 Venue and Staging .................................................................................................. 43 iv 3.8 The Performance ..................................................................................................... 44 Chapter Four Evaluation, Limitations, and Conclusion .................................................... 46 4.1 Goal One: Critical Analysis of The Gift ................................................................ 46 4.2 Goal Two: Adding to the Conversation .................................................................. 47 4.3 Goal Three: Burkean Analysis ................................................................................ 48 4.4 Goal Four: Presenting a Creative Work .................................................................. 49 4.5 Avenues for Future Academic Research ................................................................. 54 4.6 Avenues for Future Creative Work ......................................................................... 55 4.7 Discussion and Conclusion ..................................................................................... 55 APPENDICES .................................................................................................................. 57 APPENDIX A IRB APPROVAL LETTER AND INFORMED CONSENT FORM ...... 57 APPENDIX B INTERVIEW QUESTIONS ..................................................................... 60 APPENDIX C INTERVIEW TRANSCRIPT ONE: ADAM ........................................... 62 APPENDIX D INTERVIEW TRANSCRIPT TWO: BRIAN.......................................... 72 APPENDIX E INTERVIEW TRANSCRIPT THREE: CHRISTOPHER ....................... 84 APPENDIX F INTERVIEW TRANSCRIPT FOUR: FLOTSAM ................................ 100 APPENDIX G Little
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