This thesis begins by arguing that the defining moment of New Zealand nationalism occurred not at Gallipoli but in Britain in 1905 with the triumphant tour of the All Blacks. The myths were later strengthened in the 1930s cultural literary movement which placed the 'ordinary bloke', and his traditions, at the centre of importance in New Zealand society. While this literary movement diminished towards the 1970s, it continued to exert a powerful influence in New Zealand up till the 1980s when authors, such as Greg McGee, sought to challenge the relevance of this nationalism and definition of masculinity. The intention of this thesis is not only to consider the mutually reinforcing areas of masculinity and rugby in generating a distinctively New Zealand identity, but more importantly to demonstrate how perceptions towards masculinity have been reviewed and reevaluated since the late 1970s. Rugby has also had a role in challenging and undermining those myths of identity. In order to chart the shifts in these perceptions, the thesis will not only focus on Greg McGee's Foreskin's Lament and its subsequent revision in 1985,but also on Whitemen. Old Scores, Skinand Bone and the accompanying literary criticism which deals with all of these texts to destabilise the myths and suggest where masculinity now stands in New Zealand.

In the early 1980s Foreskin's Lament swept the country as a major artistic and commercial success. In this play dramatist Greg McGee challenges the traditional New Zealand male role and associated behaviour. Foreskin ends the play searching for a new male identity: "[c]an't play the game or any more wear the one-dimensional mask .... Whaddarya?"¹ Has the massive economic and social change occuring in New Zealand since the early 1980s been responsible for answering Foreskin's question and redefining the male role? Similarly, has feminism resulted in women achieving real freedom from the constraints of traditional expectations? Or, rather, has the uncertainty caused by the constant change and financial insecurity influenced New Zealanders to reactivate or reinforce gender roles from earlier times? It is possible to answer the above questions through a close study of contemporary New Zealand theatre: theatre is influenced and produced by the social and cultural context in which it exists. Within the social context, gender is inextricably linked with sex and violence. As the meeting between society and theatre occurs during the performance of play texts, the performance situation is the dominant concern of this thesis. ¹Greg McGee. Foreskin's Lament. Wellington: Victoria University Press, 1985. 96.