REMAINS from Page 12 play teems with heterosexu al and homosexual love scenes, sadomasochism and casual sex. Given the mature mater ial and its explicit presenta tion, the cast is prepared for mixed reactions from the audience. But though the play is bound to make some squirm, it is not a glorifica tion of cheap sex and vio lence. Rather, the play explores how people strug gle to fulfill the gaps in their lives. “People don’t recognize what the possibilities are for i_• ^.i_• ti_w_: j George Wolf an associate ™E SEDUCTIVE GAZE of Benita, played by Amy Jirea, falls on the audience. The produc English professor at UNL, tion has caused much discussion because of its frank portrayals of sexuality. wuu meiuueu lac piay in ins Gay and Lesbian Drama class. “They want something different that they’ve called love and often they can’t have.” To communicate the characters’ sense of alienation, Fraser gave the play a cinematic quality, moving from scene to scene with lightning speed and overlapping past with pre sent. Like the characters’ lives, the play jumps from person to person, relationship to relationship and dia logue to dialogue, refusing to let the audience take a breath. Fraser said the random time cycle was a purposeful break from the lin ear timeline most theater utilizes. “Our minds don’t work in the way theater people want them to work,” Fraser said. “We can take in so much information visually and aurally. We’re used to being able to jump from channel to channel and still keep a narrative.” His technique is another way of updating theater for a new generation of theatergoers. If theater is to con tinue its role in social activism, it needs to keep up with the times, Fraser said. “Nothing stimulates the mind like theater,” Fraser said. “But you’ve got to stimulate all their senses. You have to make them laugh, scared and homy. Then, you have to kind of slip the social action in, if you can.” If what the audience sees offends them, well, that’s OK, too. “If people were to look in on your real life all the time,” Jirsa said, “I think they would be offended.” Playwright addresses AIDS FRASER from Page 12 other for these common, everyday symptoms,” Fraser said. In 1984, Fraser had his first HTV test. After waiting 21 days for the test results, Fraser found out he was nega tive and made a resolution: NO more wasting time. “I’ve been lucky for a reason, and I suspect that reason is to write a play,” Fraser said. Fraser began work on “Unidentified Human Remains and the True Nature of Love,” a play that turned a serial killer into the human embodiment of AIDS, representing the fear and horror invoked by the disease. The play won numerous awards and heaps of accolades before it even tually turned into a film. , By 1987, AIDS had moved into the near outskirts of Fraser’s life. People Fraser knew personally were dying of the disease. “I (was) 28 years old, and I (was) obsessed with mortality,” Fraser said. After another AIDS test, Fraser made more resolutions. For the next few years, his lovers were pizza, beer and pop. In the early 90s, the death of friends becomes a common thing in Fraser’s life, and the man whom he came out of the closet with (through their first visit to a gay bar) tested pos itive for HIV .In the background, new drugs were prolonging the lives of HIV positive persons, and, Eraser sai