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The current paper is an attempt to scrutinize and shed some light on Caryl Churchill’s play Cloud Nine (1979) with the application of Mikhail Bakhtin’s theories of carnival and carnivalesque explicated in his celebrated book Rabelais and His World (1984) which presupposes a world in which the flouting of, and challenging authority along with disrespect for, and disregard of, what is deemed sacred and valued are vital and instrumental, where individuals are liberated from any restrictions imposed on them outside carnival, and are permitted to pursue what pleases them without the least fear of being castigated, oppressed or interrupted by authorities. The selected work, as argued in the subsequent sections of the present article, presents a world where authority and social constructs as well as conventions are all undermined and mocked. What is thought of as truth is, therefore, mocked, and the characters are no longer restricted by imposed rules and regulations. It, however, celebrates the subversion and calling into question of gender roles and demonstrates how restrictive and oppressive these roles can be, and what it is like when one is not circumscribed by societal constructions and expectations, and is given the opportunity to enjoy themselves in an unlimited way. In the first act, everyone stands in an already pre-defined position, as expected by the authorities, where no transgression is tenable, and no one seems inclined to go beyond them. The second act, however, is set in London in 1979 and women are no longer restrained by rules, and the characters as a result grow. In what follows, the words carnival and carnivalesque will be first fully defined and elaborated on, and then applied to Caryl Churchill’s Cloud Nine to illustrate the abovementioned claim.

Carnivalesque and its All-Pervasive Influence in Caryl Churchill’s Cloud Nine