ENG3704
Assignment 3 2025
Unique Number:
Due Date: 15 September 2025
QUESTION 1
Introduction
Harvey Fierstein’s Torch Song Trilogy (1978) is a seminal work of American queer theatre
that portrays both the joys and the hardships of gay life in the late twentieth century.
Structured in three parts, International Stud, Fugue in a Nursery, and Widows and Children
First!, the play chronicles the emotional journey of Arnold Beckoff, a Jewish gay drag
performer navigating the search for love, family, and self-respect. Read through the lens of
the bildungsroman, the trilogy presents Arnold’s movement from self-deprecating insecurity
to self-acceptance and maturity. Fierstein situates Arnold’s personal growth within a hostile
social environment where homophobia, familial expectations, and cultural norms shape his
experiences. By examining Arnold’s evolving relationships, grief, and confrontations with
authority figures, the play invites audiences to view queer life not merely as struggle but as
resilience and affirmation. Arnold’s growth is therefore both a deeply personal narrative and
a wider social critique (Fierstein, 1978: 3-5).
Terms of use
By making use of this document you agree to:
Use this document as a guide for learning, comparison and reference purpose,
Terms of use
Not to duplicate, reproduce and/or misrepresent the contents of this document as your own work,
By making use of this document you agree to:
Use this document
Fully accept the consequences
solely as a guide forshould you plagiarise
learning, reference,or and
misuse this document.
comparison purposes,
Ensure originality of your own work, and fully accept the consequences should you plagiarise or misuse this document.
Comply with all relevant standards, guidelines, regulations, and legislation governing academic and written work.
Disclaimer
Great care has been taken in the preparation of this document; however, the contents are provided "as is" without any express or
implied representations or warranties. The author accepts no responsibility or liability for any actions taken based on the
information contained within this document. This document is intended solely for comparison, research, and reference purposes.
Reproduction, resale, or transmission of any part of this document, in any form or by any means, is strictly prohibited.
, +27 67 171 1739
QUESTION 1
Introduction
Harvey Fierstein’s Torch Song Trilogy (1978) is a seminal work of American queer
theatre that portrays both the joys and the hardships of gay life in the late twentieth
century. Structured in three parts—International Stud, Fugue in a Nursery, and
Widows and Children First!—the play chronicles the emotional journey of Arnold
Beckoff, a Jewish gay drag performer navigating the search for love, family, and self-
respect. Read through the lens of the bildungsroman, the trilogy presents Arnold’s
movement from self-deprecating insecurity to self-acceptance and maturity. Fierstein
situates Arnold’s personal growth within a hostile social environment where
homophobia, familial expectations, and cultural norms shape his experiences. By
examining Arnold’s evolving relationships, grief, and confrontations with authority
figures, the play invites audiences to view queer life not merely as struggle but as
resilience and affirmation. Arnold’s growth is therefore both a deeply personal
narrative and a wider social critique (Fierstein, 1978: 3-5).
Does Torch Song Trilogy Apply as a Bildungsroman?
A bildungsroman traces a protagonist’s psychological and moral development, often
beginning with youthful longing and ending with mature self-awareness. Arnold fits
this pattern from the first scene of International Stud, where his direct address to the
audience reveals both humour and vulnerability: he jokes about singing to strangers
but admits to feeling lonely when the applause fades (Fierstein, 1978: 5). His
yearning for authentic connection reflects the bildungsroman’s focus on identity
formation.
The trilogy follows key stages of personal growth. Arnold’s initial insecurity is evident
in his desperate desire for validation through casual encounters and fleeting
relationships. His romantic disillusionment with Ed is a classic coming-of-age
catalyst: Ed enjoys their intimacy privately but cannot commit publicly, saying he is
―scared that someone will find out‖ (Fierstein, 1978: 22). This betrayal forces Arnold
to examine his own expectations of love and self-worth. Later, Arnold’s decision to
Disclaimer
Great care has been taken in the preparation of this document; however, the contents are provided "as is"
without any express or implied representations or warranties. The author accepts no responsibility or
liability for any actions taken based on the information contained within this document. This document is
intended solely for comparison, research, and reference purposes. Reproduction, resale, or transmission
of any part of this document, in any form or by any means, is strictly prohibited.
Assignment 3 2025
Unique Number:
Due Date: 15 September 2025
QUESTION 1
Introduction
Harvey Fierstein’s Torch Song Trilogy (1978) is a seminal work of American queer theatre
that portrays both the joys and the hardships of gay life in the late twentieth century.
Structured in three parts, International Stud, Fugue in a Nursery, and Widows and Children
First!, the play chronicles the emotional journey of Arnold Beckoff, a Jewish gay drag
performer navigating the search for love, family, and self-respect. Read through the lens of
the bildungsroman, the trilogy presents Arnold’s movement from self-deprecating insecurity
to self-acceptance and maturity. Fierstein situates Arnold’s personal growth within a hostile
social environment where homophobia, familial expectations, and cultural norms shape his
experiences. By examining Arnold’s evolving relationships, grief, and confrontations with
authority figures, the play invites audiences to view queer life not merely as struggle but as
resilience and affirmation. Arnold’s growth is therefore both a deeply personal narrative and
a wider social critique (Fierstein, 1978: 3-5).
Terms of use
By making use of this document you agree to:
Use this document as a guide for learning, comparison and reference purpose,
Terms of use
Not to duplicate, reproduce and/or misrepresent the contents of this document as your own work,
By making use of this document you agree to:
Use this document
Fully accept the consequences
solely as a guide forshould you plagiarise
learning, reference,or and
misuse this document.
comparison purposes,
Ensure originality of your own work, and fully accept the consequences should you plagiarise or misuse this document.
Comply with all relevant standards, guidelines, regulations, and legislation governing academic and written work.
Disclaimer
Great care has been taken in the preparation of this document; however, the contents are provided "as is" without any express or
implied representations or warranties. The author accepts no responsibility or liability for any actions taken based on the
information contained within this document. This document is intended solely for comparison, research, and reference purposes.
Reproduction, resale, or transmission of any part of this document, in any form or by any means, is strictly prohibited.
, +27 67 171 1739
QUESTION 1
Introduction
Harvey Fierstein’s Torch Song Trilogy (1978) is a seminal work of American queer
theatre that portrays both the joys and the hardships of gay life in the late twentieth
century. Structured in three parts—International Stud, Fugue in a Nursery, and
Widows and Children First!—the play chronicles the emotional journey of Arnold
Beckoff, a Jewish gay drag performer navigating the search for love, family, and self-
respect. Read through the lens of the bildungsroman, the trilogy presents Arnold’s
movement from self-deprecating insecurity to self-acceptance and maturity. Fierstein
situates Arnold’s personal growth within a hostile social environment where
homophobia, familial expectations, and cultural norms shape his experiences. By
examining Arnold’s evolving relationships, grief, and confrontations with authority
figures, the play invites audiences to view queer life not merely as struggle but as
resilience and affirmation. Arnold’s growth is therefore both a deeply personal
narrative and a wider social critique (Fierstein, 1978: 3-5).
Does Torch Song Trilogy Apply as a Bildungsroman?
A bildungsroman traces a protagonist’s psychological and moral development, often
beginning with youthful longing and ending with mature self-awareness. Arnold fits
this pattern from the first scene of International Stud, where his direct address to the
audience reveals both humour and vulnerability: he jokes about singing to strangers
but admits to feeling lonely when the applause fades (Fierstein, 1978: 5). His
yearning for authentic connection reflects the bildungsroman’s focus on identity
formation.
The trilogy follows key stages of personal growth. Arnold’s initial insecurity is evident
in his desperate desire for validation through casual encounters and fleeting
relationships. His romantic disillusionment with Ed is a classic coming-of-age
catalyst: Ed enjoys their intimacy privately but cannot commit publicly, saying he is
―scared that someone will find out‖ (Fierstein, 1978: 22). This betrayal forces Arnold
to examine his own expectations of love and self-worth. Later, Arnold’s decision to
Disclaimer
Great care has been taken in the preparation of this document; however, the contents are provided "as is"
without any express or implied representations or warranties. The author accepts no responsibility or
liability for any actions taken based on the information contained within this document. This document is
intended solely for comparison, research, and reference purposes. Reproduction, resale, or transmission
of any part of this document, in any form or by any means, is strictly prohibited.
