1) Harry engages in frenetic sexual activity with multiple partners in Act 1 of Cloud 9 by Caryl Churchill, which was perverse according to Victorian norms. 2) His homosexual desires and intercourse with men posed a threat to the superficial stability of the British Empire by rebelling against social conventions. 3) However, Harry ultimately surrenders his personal freedom and desires when he returns to England, conforming to expectations by marrying Ellen instead of continuing to fulfill his own needs.

1. CLOUD 9 BY CARYL CHURCILL
TIKA FITRIA DAMAYANTI

2. ABSTRACT
This essay tell about Harry’s frenetic sexual activity in Act 1 IN THE PLAY OF "CLOUD 9" by Caryl Churchill. This essay use contextual method.
Harry’s homosexual desires are perverse according to Victorian norms, and having sexual intercourse with other men is a form of rebellion,
which poses a threat to the superficial stability of the British Empire. he has conformed to English expectations rather than fulfilling his personal
desires.

3. BIOGRAPHY OF CARYL CHURCILL
 Caryl Churchill
 Val Rylands
 BornLondon, England Genre Drama Biography Playwright Caryl Churchill was born on 3 September 1938 in London and grew up in the Lake District
and in Montreal. She was educated at Lady Margaret Hall, Oxford, where she read English. Downstairs, her first play, was written while she was still at
university, was first staged in 1958 and won an award at the Sunday Times National Union of Students Drama Festival. She wrote a number of plays for
BBC radio including The Ants (1962), Lovesick (1967) and Abortive (1971). The Judge's Wife was televised by the BBC in 1972 and Owners, her first
professional stage production, premiered at the Royal Court Theatre in London in the same year.
She was Resident Dramatist at the Royal Court (1974-5) and spent much of the 1970s and 1980s working with the theatre groups 'Joint Stock' and
'Monstrous Regiment'. Her work during this period includes Light Shining in Buckinghamshire (1976), Cloud Nine (1979), Fen (1983) and A Mouthful of
Birds (1986), written with David Lan. Three More Sleepless Nights was first produced at the Soho Poly, London, in 1980.
Top Girls brings together five historical female characters at a dinner party in a London restaurant given by Marlene, the new managing director of 'Top
Girls' employment agency. The play was first staged at the Royal Court in 1982, directed by Max Stafford-Clark. It transferred to Joseph Papp's Public
Theatre in New York later that year. Serious Money was first produced at the Royal Court in 1987 and won the Evening Standard Award for Best Comedy
of the Year and the Laurence Olivier/BBC Award for Best New Play. More recent plays include Mad Forest (1990), written after a visit to Romania, and
The Skriker (1994). Her plays for television include The After Dinner Joke (1978) and Crimes (1982). Far Away premiered at the Royal Court in 2000,
directed by Stephen Daldry. She has also published a new translation of Seneca's Thyestes (2001), and A Number (2002), which addresses the subject
of human cloning. Her new version of August Strindberg's A Dream Play (2005), premiered at the National Theatre in 2005.

4.  I WOULD LIKE TO EXPLAIN
ABOUT A CHARACTER IN
CLOUD 9

5. HARRY’S FRENETIC SEXUAL HAVING
SEX WITH DIFFERENT PEOPLE
 Many peoples in this world will have sex with her or his couple. Sex is a relationship between two peoples and they are having love each other. And they did with her couple or his couple. In generally , Couple of sex are between woman and men but I think Sexuality is in each human
must be different .There are any men who loves men and woman loves woman . Such as that happened to Harry Bagley in Theatre Cloud 9. Harry presents a contrast between “masculine” heroism and “feminine” or “effeminate” sexual proclivities. During the Victorian period, male
effeminacy was synonymous with homosexual desires .Therefore, Harry’s outward masculinity should code for heterosexuality, but he defies the stereotype by having “effeminate” sexual proclivities unlike Clive. As the patriarch, Clive hails Harry as a paragon of manliness because
Harry is a self-reliant explorer. Ironically, as an explorer, Harry eschews the Victorian ideal of a family under one household, yet Clive upholds Harry’s virility anyway because Harry exhibits “masculine” strength.
 Harry’s role as an explorer extends beyond the metonymic exploration involved in colonialism; in fact, his deviant sexual pursuits are a type of exploration because sexual intercourse with members of the same sex is purportedly as foreign to the Victorians as the culture of the African
nation in which they inhabit. Still, Clive values his relationship with Harry over his relationship with his wife Betty . According to Clive, homosociality takes precedence over the family despite his upholding of a traditional familial structure, which necessarily includes a wife and children.
He describes homosocial relationships between men in terms of “sharing adventures, sharing danger, risking their lives together” (page 51). All of his descriptions illustrate ideal masculine traits, implicitly referring to Harry’s explorations. However, Harry misconstrues Clive’s
affirmation of homosociality as an affirmation of homoeroticism, resulting in his failed seduction of Clive. Consequently, Clive clarifies the distinction between friendship and sexuality, revealing the supposed femininity of homosexuality as diametrically opposed to masculine,
homosocial friendship.

6.  Harry’s homosexual desires are perverse according to Victorian norms, and having sexual
intercourse with other men is a form of rebellion, which poses a threat to the superficial stability
of the British Empire.This upheaval against strict Victorian norms signifies Harry’s desire for
personal freedom. Because of the sexual repressiveness of the era, he uses his sexual desires to
disrupt the outward stability of the empire by claiming as many male bodies as he can. However,
he ultimately surrenders his freedom, which reveals the great, insurmountable power of the
British Empire during the nineteenth century while the degeneracy of Kurtz in Heart of Darkness
complements the insurmountable imperial construct because the lust that empire breeds leads
to his own destruction.

7. CONCLUSION
 Harry cannot control the bodies that he has colonized once he returns to the supposed stability of the Victorian world when he marries Ellen and then
exposes himself to the demise of his identity apart from the empire. Social repressiveness clashes with social liberty, causing Edward and Joshua to
abandon their prescribed roles within the empire because of Harry’s attempts at erotic conquest. Ironically, Harry himself gives up his own liberty when
he reenters the Victorian world by marrying Ellen. He must cease his rebellion in his pursuit for individual freedom now that he has conformed to
English expectations rather than fulfilling his personal desires. In contrast, Kurtz’s attempt to fulfill his personal, materialistic desires, shows how he
succumbs to Africa unlike Harry, who succumbs to Victorian values. Still, Kurtz’s death in Africa reflects the near death of Harry’s Englishness as Africa
attempts to “demoralize” Europeans. Although Harry successfully exposes the instability of the empire through his process of colonization, he
capitulates to the empire and its far-reaching power at the end of the act, showing that Victorian ideals often override personal freedom even if some
characters overcome these strictures.