nm u Ottawa L'Universite canadienne Canada's university FACULTE DES ETUDES SUPERIEURES l^^l FACULTY OF GRADUATE AND ET POSTOCTORALES U Ottawa POSDOCTORAL STUDIES L'Universite canadienne Canada's university Laurie Fyffe TutluTDErATHlSE7AUTH0RWTHlsTS~' M.A. (Theatre) GRADE/DEGREE Department of Theatre FACULTE, ECOLE, DEPARTEMENT / FACULTY, SCHOOL, DEPARTMENT Political Theatre Post 9/11 : The Age of Verbatim, of Testimony, & of Learning from Fictional Worlds TITRE DE LA THESE / TITLE OF THESIS Yana Meerzon DIRECTEUR (DIRECTRICE) DE LA THESE / THESIS SUPERVISOR CO-DIRECTEUR (CO-DIRECTRICE) DE LA THESE / THESIS CO-SUPERVISOR Micheline Lessard Daniel Mroz Gary W. Slater Le Doyen de la Faculte des etudes superieures et postdoctorales / Dean of the Faculty of Graduate and Postdoctoral Studies Political Theatre Post 9/11: The Age of Verbatim, of Testimony, & of Teaming from Fictional Worlds By Laurie Fyffe Thesis submitted to the Faculty of Graduate and Postdoctoral Studies In partial fulfillment of the requirements For the degree of Master of Arts (MA) in Theatre Theory & Dramaturgy Faculty of Arts Department of Theatre University of Ottawa © by Laurie Fyffe, Ottawa, Canada, November, 2010 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-74175-7 Our file Notre reference ISBN: 978-0-494-74175-7 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformement a la loi canadienne sur la Privacy Act some supporting forms protection de la vie privee, quelques may have been removed from this formulaires secondaires ont ete enleves de thesis. cette these. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. 1*1 Canada ABSTRACT: Political Theatre Post 9/11: The Age of Verbatim, of Testimony, & of Learning from Fictional Worlds By Laurie Fyffe Thesis supervisor: Doctor Yana Meerzon Department of Theatre Faculty of Arts University of Ottawa The first decade of the 21st century has been marked by a surge of political writing for the stage. Plays written in response to the events surrounding September 11, 2001 reveal an unprecedented level of theatrical experimentation directed specifically at describing the social, religious, and political forces that continue to transform our post 9/11 world. These experiments have encompassed verbatim theatre; theatre based on real events and people, transcripts, speeches, and photographic evidence. They encompass the theatre of testimony where verbatim techniques are combined with first person narratives based on personal experience. These innovations also include theatre that employs fictionality to create possible worlds where transformations occur, and where the playwright has created a unique site for problem solving. Through text analysis of David Hare's Stuff Happens, Judith Thompson's Palace of the End, Heather Raffo's 9 Parts of Desire, and Tony Kushner's Homebody Kabul, this study will chart the course of these experiments, highlight the innovations, and assess their implications for political theatre. ii i ACKNOWLEDGEMENTS: I would like to extend my sincere thanks to my thesis supervisor Associate Professor, Doctor Yana Meerzon without whose guidance, oversight, and diligence this work would not have been possible. I would also like to thank Emeritus Professor Tibor Egervari, Associate Professor Daniel Morz, Phd, Assistant Professor Kathryn Prince, Phd, of the Department of Theatre, and Assistant Professor Micheline Lessard, Phd, of the History Department, for advice and encouragement in my studies. TABLE OF CONTENTS: Thesis Abstract ii Acknowledgements iii Table of contents iv INTRODUCTION Post 9/11: an incendiary decade 1 A theatre where action meets truth 5 Political theatre & ethical dramaturgy 7 Awakening the astonished eye 15 Searching for an aesthetics of the exact 19 CHAPTER ONE: Stuff Happens by David Hare 23 Play synopsis 23 Intro: contesting history 23 Is Stuff Happens verbatim theatre 28 Plot in verbatim theatre 28 Character: the soul of verbatim 31 The pattern of characters 36 Is a play a narrative 38 Truth & the historical narrative 44 Time, space & truth 50 Chapter conclusions 54 CHAPTER TWO: Palace of the End by Judith Thompson & 9 Parts of Desire by Heather Raffo 56 Play synopsis: Palace of the End 56 Play synopsis: 9 Parts of Desire 57 Introduction: history & testimony 57 Plot: a view from the panopticon 61 Letting the characters have their say 66 Testimony & resolution 68 Testimony & experience 69 Testimony & fiction 71 The monologue 78 Time & space: the chronotope of testimony 82 Chapter conclusions: pathos 85 CHAPTER THREE: Homebody/Kabul by Tony Kushner 89 Play synopsis 89 Intro: the modern morality play 89 Does the political trump the fantastical 92 Plot: digressions & intersections 94 Real politics meets fictional world 100 Time & space: elements of the fantastic 103 Character in the mysterium 106 The poetics of the mysterium 109 Conclusion: a final view of the periplum 117 CONCLUSIONS: the age of juxtaposition 120 ENDNOTES 127 WORKS CITED 131 iv 1 INTRODUCTION: Post 9/11: an incendiary decade There has never been a more exciting time to take a look at political theatre. Since September 11, 2001, the first decade of the 21st century has been marked by an explosion of political writing for the stage. These texts reveal an unprecedented level of experimentation in the creation of political theatre that has resulted in a revitalized engagement between playwrights and a global audience. Is the above statement hyperbolic, wishful thinking, or does it contain some measure of truth? In the months and years following the September 11, 2001 attacks in the U.S., now known simply as 9/11, our world became dominated by the "emotionally charged rhetoric" that described a "War on Terror" (Asian 93) . We lived with heightened concerns over airline security and the fear of sabotage from within. In the months leading up to the invasion of Iraq by the U.S. and Britain in March of 2003, it seemed to many, that "two unseen forces - "Islam" and "the West" - were hurtling toward each other in a catastrophic yet inevitable collision" (Asian 158). Today, the legacy of 9/11 is still very much with us. It challenges us as we try to integrate different religions and cultures into the mosaic of a multicultural society. It is evident in the debate over increased surveillance of the individual and racial profiling of selected groups. The 9/11 attacks led to the continued U.S. occupation of Iraq, an exacerbated level of political destabilization in much of the Middle East, and Canada's mission in Afghanistan. To date, Canada's military role in that country has resulted in the deaths of 152 Canadian military and civilian personnel (CBC Afghanistan). Further, the events of 9/11 have drawn the world deep into a conflict religious scholar Reza Asian has labeled a "cosmic war" (xix ). 2 A cosmic war is a religious war. It is a conflict in which God is believed to be directly engaged on one side over the other. Unlike a holy war - an earthly battle between rival religious groups - a cosmic war is like a ritual drama in which participants act out on earth a battle they believe is actually taking place in the heavens. (Asian 5) In response to these events, we have seen a surge of political plays directed specifically at describing this incendiary past decade. The results have been gratifying, partly because more than describing what happened, more than protesting the profound changes inflicted on individuals and nations, these plays have instigated original and exciting theatrical experiments. These experiments encompass verbatim theatre, theatre based on real events and people, using transcripts, speeches, and photographic evidence. They encompass the theatre of testimony where verbatim reportage is combined with the testimony to create first person narratives based on personal experience. These experiments also include theatre that employs fictionality to create worlds where transformations occur and where the playwright has created a unique site for problem solving. Through text analysis, this study will chart