Drama and the History of Memory

Home , A Lie of the Mind, Desire Under the Elms, Emily Mann (director), Memory play

Notes

INTRODUCTION

1. An exceptional interdisciplinary approach is Nalbantian (2003).

CHAPTER 1: DRAMA AND THE HISTORY OF MEMORY

1. Useful for the history of memory are the already cited works of Edward S. Casey, Graham Richards, Gardner Murphy and Joseph K. Kovach, Douwe Draaisma, and Tulving and Craik. See also Yates (1966) and Coleman (1992). 2. For the original reference, see F. M. Cornford’s translation of The Republic (1945, 359). 3. See also Weinrich (2004, 15). 4. See DeConcini (1990, 4–10) and Coleman (5–14), for useful accounts of Plato on memory. 5. For Aristotle on memory, see Sorabji (1972), who translates the De Memoria et Reminiscentia; also Yates (1966), Chapter 2; Scott (126–127); Casey (14–15); and Burnyeat (107). 6. I have used the “literal” translation of Kenneth Telford (1961, 20). Subsequent quotations are from this edition. 7. See Simon (1994) and Garvey (2002) on Greek identity as relational. 8. In Segal’s Introduction to the Bakkhai, translated by Reginald Gibbons (2001). Line citations are from this edition. 9. My discussion of Augustine is reliant upon DeConcini (177–194) and Coleman (80–111). 10. References to Augustine’s work are from The Confessions of St. Augustine, translated by Edward B. Pusey. 11. See Nagler (1976) for a good collection of visual evidence on marketplace arrangements. Modern hypermnemonists frequently favor an array of houses along a street as a mnemonic device (Luria 1968). 12. Yates (1964, 210–211n.). Quotations from Friar Bacon are from the Brooke and Paradise (1933) edition, which retains the original textual convention of division into scenes without act divisions. 13. Sullivan (26–27). Sullivan’s well-researched book makes the point throughout that loss and gain of self-identity are often couched in English Renaissance drama in terms of forgetting and remembering. While he considers Hamlet in passing, he mentions Pericles not at all, concentrating more on forgetfulness in All’s Well That Ends Well, Antony and Cleopatra, Dr. Faustus, and Duchess of Malfi. 14. Low (1999) notes that Hamlet forgets his duty to remember his father by offering masses to release his soul from Purgatory, and links that forgetting to the Elizabethan forgetting of Catholicism as a sort of killing of the father. 15. Shakespeare refers to a mole only three other times, one of them in the first act of Pericles (1.1.143). 276 Notes

16. See the chapter “Wriggle-Work” in Sutton (1998b), 25–49, who does not mention Hamlet in this context. 17. Greenblatt (2001) calls attention to the importance of remembering in Hamlet, briefly drawing on Plato and Aristotle on memory, and noticing that Aristotle comments on memory in melancholics—though missing the passage I just quoted from De Anima. Indeed, Greenblatt dubiously contends that Renaissance theorists of memory could not explain naturalistically the sort of compulsive remembering Hamlet engages in (214). 18. Death remembered as a mirror for mortality was a common illustration in the emblem book tradition, itself a mnemonic system (Engel 2002). 19. Here and elsewhere in my reading of Pericles I have benefited from a seminar paper by Kellee Van Aken. 20. Pericles enters a kind of limbo, perhaps literally. While it is possible to do something about a soul in Purgatory—that is, to perform the remembrances that will earn a soul’s liberation—the same cannot be done for souls in Limbo, who can only wait in the Limbo Paternorum. It might be fruitful to pursue Pericles/Limbo, Hamlet/Purgatory parallels. 21. Greenblatt rather sees Shakespeare the son remembering his father John: “In 1601 the Protestant playwright was haunted by the spirit of his Catholic father pleading for suf- frages to relieve his soul from the pains of Purgatory” (249). His contention and mine are by no means incompatible. 22. The Scottish school is most influential on American psychological thinking and leads to William James (Murphy and Kovach 1972, 21–23), and through James and Gertrude Stein, who studied with him, to American playwrights (e.g., Thornton Wilder) inter- ested in memory. 23. Details of performance and publication of The Rival Queens are from the Vernon edition, xiii–xxvi. Citations are from this edition. 24. Quotations from All for Love are from the Vieth edition (1972). 25. Quotations from The Fatal Curiosity are from the McBurney edition. 26. Camus evidently did not know Lillo’s play or any of the several other dramatizations of the story. His notebooks, wherein the play is referred to by its intended locale, Budejovice, make reference to no literary precedents, and in a 1957 letter to critic R. Thieberger Camus said the idea for the play came from a newspaper story. See Camus (1965, 46ff.) and Gay-Crosier (1967, 101, n. 11). Citations for The Misunderstanding are from Caligula and Three Other Plays, translated by Stuart Gilbert (1958). 27. The Dedication is quoted in Kaufmann’s edition (1963, 11). Textual citations are from this edition, which also has the German text. 28. But Faust has scarcely more than a single line in the entire scene, whose chief purpose seems to be to demonstrate Mephistopheles’ power. Nor does Faust “forget himself” by joining in the revels. 29. But the name of the river is not mentioned in the text, and it is not certain that the heal- ing referred to by the Chorus is forgetting. 30. Jefferson’s acting version of Rip Van Winkle is available in the Myron Matlaw edition. Citations are from this edition.

CHAPTER 2: DRAMA AND THE MEMORY OF HISTORY

1. See Rehm (1992, 22–23) and Hall (1989, 62–69) for the political context of these historical dramas. Hall adds to and somewhat amends her hypotheses about The Persians in her edition of the play (1996). Notes 277

2. On Aeschylus’ departure from the facts, see Pelling (1997). Aeschylus, for example, manipulates the time and duration of the battle to link Greece to daylight and Persia to night, and arranges battle strategy to portray the Greeks as natural seamen and the Persians as “lumbering landsmen” (7). See also note 6, below. 3. On Aeschylus’ use of allusion, see Garner (1990, 22ff.). 4. See Harrison’s first chapter, “Aeschylus the Historian?” for a recapitulation of the argu- ments about Aeschylus’ accuracy. 5. Hall, though she does not use the term “collective memory” and is apparently unaware of Halbwachs, writes of The Persians as “a document of Athenian collective imagination” (1996, 5). 6. On the critical history of the play, see Hall (1996, 16–18). 7. Harrison is peerless in discriminating minute differences among the play’s critics over whether Aeschylus is a Persian sympathizer or Greek chauvinist, though both Kuhns and Snyder are absent from his bibliography. 8. For an explanation of this neglected distinction of the forms of tragedy, see the incom- parable and invaluable translation of The Poetics by Telford (118–121). 9. In the translation of Lembke and Herington (1981, 52). Quotations are from this edition. 10. On ring compositions, see Lord (1991). 11. Segal tends to overemphasize the tension between oral and written culture in theatre, however. Greek practice normally put the playwright in charge of the original production, thus minimizing the distinction between composition and performance. 12. Garner (21), notes, however, that The Persians is relatively bare of reference to Homer, compared with others of Aeschylus’ plays, thereby lessening the warlike tone of the play. 13. On the prevalence of metonymy in oral forms, see Foley (1991, 7–8). 14. See, for example, “The Arts: Assault on Aeschylus,” The Daily Telegraph (London); Nightingale, The Times (London); Wright, The Scotsman (Edinburgh); Drake, Los Angeles Times; all 1993. 15. As suggested to me in a seminar paper by Jay Ball. 16. I am indebted to Gary Williams for this suggestion. 17. Hartigan makes this point. 18. Said, Orientalism (1978, 56–57), considers The Persians in this context. 19. Castellani, (1986, 1–2), offers five reasons for the paucity of Greek historical drama, none of which I find compelling. 20. I am here indebted to Slater (1990), who somewhat less precisely refers to the formation of a “reperformance” culture. The early proscription against a repeat performance of The Capture of Miletus is generally taken as evidence for a tradition of repeat performances in outlying demes, rather than in Athens. 21. Ong is not discussing theatre in this context, but his words apply. 22. See Auerbach (1953), esp. his Chapters 7 and 8 on the twelfth-century Mystère d’Adam and on Dante. 23. See Vance (1978) for an explication of this notion. Enders (1992, 53) evokes it in reference to medieval French drama. 24. See Nagler (1976, 22–25), on medieval staging in the Roman amphitheatre at Bourges in 1536. 25. On the association of medieval drama with the Feast of Corpus Christi, see Kolve (1966). The recorded instances (see Enders 1992, 103) of a criminal being cast in a mystery play, so as to exploit his actual torture and death as part of the spectacle, form a sort of harrowing doppelgänger to the doctrine of the Real Presence. Such a contriv- ance was no doubt designed, devotionally speaking, to make the lessons of the drama “memorable.” 278 Notes

26. See Knight (1983, 19). Perhaps less obviously, plays addressing themselves directly to everyday life were classified as “fictions” (23). 27. Alessandro Portelli (1994) uses “history-telling” in the more restricted sense of an oral interview recorded from an informant by an ethnographer or sociologist; Paul Hernadi (1985) uses the term without a hyphen and without defining it. Neither uses it in the sense I am constructing here. 28. Lindenberger (1975, 4). Lindenberger does not himself use the chronicle play to illustrate his thesis, however. 29. Yates (1969) attempts to link Vitruvian revivalism, evidence for which she finds in the works of philosopher-humanists John Dee and Robert Fludd, to both the architectural features of the Globe and to Renaissance mnemotechnics. 30. Guenée quoted by Jean Glénisson in the “French” section of Boia (1989), 144. 31. On Bossuet, Vico, and Voltaire, see their respective entries in Boia (137, 277, 160). Dale Porter has pointed out to me that most non-European societies have retained popular modes of history-telling. 32. I am grateful to Dale Porter for pointing out this link. Hutton (167), notes these books in the context of recovering marginal historiographical traditions. 33. Compare plates and illustrations of the two roles in Gielgud, An Actor and His Time (1980). 34. For comparison of Russian and German practice see Willett (1978); Innes, (1972); Hoffman and Hoffman-Ostvald (1973); and McAlpine (1990). 35. See Willett (1978, 186) and Jacobs (1971, 4–5). Though Sarcey had used the term “documentaire” in the 1890s in reference to Napoleon plays (Howarth), our contemporary uses of the term derive from the 1920s. 36. This sounds remarkably like the postrevolutionary spectacles mounted in Soviet Russia, particularly The Mystery of Freed Labor (1920), although Piscator denied any knowledge of previous Soviet practice. In addition to Piscator’s account of the creation of In Spite of Everything!, see Willet, Innes, Hoffman and Hoffman-Ostvald, and McAlpine. 37. In Piscator’s own words, “The first production in which the text and staging were based solely on political documents was In Spite of Everything! ” (cited in Favorini 1995, 7). 38. The text of Trotz Alledem! is lost. We have, however, a police report, Piscator’s testimony and reviews, included in Favorini (1995, 1–13). 39. Connerton (65ff.) classifies commemorative ceremonies, but makes little or no reference to theatrical examples thereof. 40. On the taxonomy of propaganda see Ellul (1966). Also useful is Szanto (1978). 41. Compensation by Sergei Kurginian (text in Favorini 1995) is subtitled “a liturgy of fact.” 42. For the range of German and foreign reactions see Salloch (1972, 142–161) and Vegesack (1966). 43. The first judgment belongs to Skloot (1988, 104); the second is Alvin Rosenfeld’s, quoted by Skloot. 44. The connection with Dante has subsequently been much commented on; see Ellis (1987, 46ff.) and Robert Cohen (1993, 78ff). 45. The text is in Berrigan (1988). Quotations are from this edition. 46. Text, production account and interviews with the Kurginians are in Favorini (1995). 47. I am drawing here on a profile by Kurginian by “S. R.” published in Kto est kto [Who’s Who] (1993) translated by Carolyn Kelson, as well as Lev Anninskii, “Tabula Rasa: The Theatre Studio ‘On the Boards,’” published in Russian as a booklet introduction to the theatre and translated into English by Nancy Condee and Vladimir Padunov (unpublished). Notes 279

48. Cheeseman subsequently moved his company to the New Victoria Theatre in Newcastle- under-Lyme. 49. Elvgren and Favorini’s Steel/City (produced in 1976) is an American documentary in the Cheeseman mold and, to my knowledge, the first musical documentary in the United States. Emily Mann’s Execution of Justice and Greensboro are site-specific in some key ways, as is Thomas Gibson’s 6221; see chapter 6 below. Cheeseman’s example of site-specific documentaries has been followed less in the United States than in Canada, which already had a rich documentary tradition. See Filewod (1987). 50. In an interview with Gillette Elvgren cited in the Introduction to Elvgren and Favorini.

CHAPTER 3: MEMORY PLAYS BEFORE THE “MEMORY PLAY”

1. For works originally written in a language other than English, I have used the title of the standard English translation (if there is one) and provided both the original publication date and the date of the English translation. In cases where there is no English translation or in which translations incorporate very substantial revisions I have sup- plied the original language title. I also note that many of these publications (especially Freud’s) have extremely knotted bibliographic histories, involving several republications with slightly different titles and content. My list does not reflect the subtlety of such variants. 2. Dilman (1984, 46–62), suggests that Freud resisted Cartesianism, if unsuccessfully. In a section of Studies on Hysteria written by Breuer, the text explicitly rejects neurological terminology on the grounds that research is insufficiently advanced (185). Freud, after his 1895 essay, “Project for a Scientific Psychology,” abandoned his attempt to ground his psychological theories in physiology. See Ricoeur (1970, 71–84). 3. Freud and Breuer began to publish the essays collected in Studies on Hysteria in 1893. 4. To test these “tigerish waters,” see Hacking (44, 50, 129–137, 273n); Robinson preface to Janet, xxiii–xxxii; Freud (1959); and Freud (1963, 233). 5. For how the era diagnosed hysteria, see Hacking, 163; for its representation onstage, see Michael Robinson (1998), especially 201–203. 6. As suggested by Ferguson (1996, 418–421). 7. Gerland does not explore in any detail the complex relationship of Freud and Janet, limiting his remarks to observing (451) the latter’s influence on Studies on Hysteria. 8. Gerland (1994) had previously used Freud’s notion to repetition to explain some of Brand’s behavior, though not noticing that Irene is even more disposed to give in to the compulsion to repeat. 9. In The Oxford Ibsen, translated by McFarlane (1977, 247–248). Subsequent quotations are from this edition. 10. For details on the Strindberg portrait, see Ferguson (399–400, 407n). For Strindberg on Ibsen, see Meyer (1985, 25, 110, 126, 130–133, 136, 213, 229, 260, 430, 446). 11. My quotations from The Burned House are from the 1962 translation by Evert Sprinchorn, Seabury Quinn, Jr., and Kenneth Petersen. 12. Presumably Casanova, but referred to in the text only as “the memoirs of a famous cavalier” (73). 13. Freud read pears as breasts in The Interpretation of Dreams, Chapter 6, “The Dream- Work” (1899). My emphasis on mother-deprivation in The Burned House has a parallel in Freddie Rokem’s reading of Miss Julie (2004, 143ff. and 164). 14. My quotations are from this edition. 280 Notes

15. Jolande Jacobi (1973, 32–33), in a concise presentation of Jungian psychology endorsed by Jung in 1939, offers diagrams of the psyche in both plan and elevation versions, which I have followed here. 16. I have used the corrected edition of Long Day’s Journey into Night (1989), 84, 86. 17. I can find no direct evidence that O’Neill saw the Pirandello plays, but the Gelbs (1960, 525–526) report that O’Neill admired Pirandello and that the latter was in his mind when recommending to Ken Macgowan plays for the 1923–1924 Provincetown Playhouse season. 18. The review is reprinted in Bassnet and Lorch (1993, 82). 19. Freud, Nietzsche and Bergson are among the cultural commodities a character must acquire in the 1929 revision of Pirandello’s 1911 novel, Giustina Roncella—Stone (103). As Stone documents, critics have been tracing Freud’s influence on Pirandello since 1927. The Gelbs (577) report of O’Neill that he once told a friend, in connection with Desire Under the Elms, “I respect Freud’s work tremendously—but I’m not addicted to him!” 20. My quotations are from Bentley’s translation in Naked Masks (1952). 21. Emphasis Sacks’s (19, n. 23), quoting a 1932 account by Smith Jelliffe. Detailed symp- tomologies are also found in Constantin von Economo’s works of 1918 and 1931, cited by Sacks (12–14). 22. “L’Ignota” would be more accurately translated as “The Unknown Woman,” but for clarity of reference I have employed the character name from Samuel Putnam’s first American translation, As You Desire Me (Come Tu Mi Vuoi) (1931). 23. A notable exception was Susan Sontag’s Italian production in 1980, considered by Stone (167–176). 24. It is sad and sobering to think of Pirandello’s wife, Antonietta, in this context. 25. Sherwood (1932, 61). Subsequent quotations are from this edition. 26. Brown (274), reports that in the rehearsal period, Lee Simonson, board member of the play’s producers, the Theatre Guild, argued with Sherwood over the orthodoxy of the psychoanalyst. Brown does not mention Freud directly, however. 27. Michael Roth connects the foundation and development of psychoanalysis with mourning and loss, suggesting that psychoanalysis was “an elaborate mnemic sign of the death of Freud’s and his fellow liberals’ political ambitions” (197). 28. On Freud’s reluctance to leave, see Gay (624–628); on Halbwachs’ death—he protested to the Nazis the murder of his mother-in-law and father-in-law—see Coser’s introduction to On Collective Memory (7). 29. As pointed out by Pearsall (1972, 15–16), the 1883 edition of the Encyclopedia Britannica lumped together “animal magnetism, electro-biology, mesmerism, clairvoyance, odylic or odic force and hypnotism.” 30. For the influences of Spiritualism on Jung, see Chartet (1993) ; see also Myers (1903). 31. One of the most notorious spirit photographers, Buguet, set up his studio—oh, the irony—on Baker Street. See Pearsall (118–125). 32. My interpretation of James is based in the Meyers and Evans Introductions, in Hunt (144–165), and in Edelman (2004, 4–7, 55, and 82ff.). My views on James diverge somewhat from those presented by Meyers, though in the direction of heightening rather than rejecting the paradoxes he discerns in James’s work. 33. Interpreters and biographers of James differ over whether James was a believer or a skep- tic, Linda Simon (1998) tending toward the former and Gerald E. Meyers (1986) toward the latter. See also Gardner Murphy and Robert O. Ballou (1960), which collects many public and private communications on the subject. Notes 281

34. The Samuel French edition I quote from bears the 1915 copyright year, but includes the cast of the 1917 Broadway production. In the New York Times, April 22, 1917, the playwright said to Alexander Woolcott he had written the play some twenty years earlier. 35. My quotations are from Davis (1918). The Internet Broadway Database http://www. ibdb.com/person.asp?ID=7980 lists over 75 credits for Davis. 36. As pointed out by Vanden Heuvel (1996), flashbacks were used by Rice in his first play, On Trial. But Rice’s play is not a memory site, since the flashbacks, which as in Forever After carry the plot, are not anyone’s memories, but simply a narrative technique derived, as contemporary reviewers recognized, from film. 37. Quotations are from Shaw (1936), who was scarcely twenty-three when the play opened on Broadway and ran for ninety-seven performances. See Internet Broadway Database, http://www.ibdb.com/production.asp?ID=12118. 38. The Broadway aficionado Wilder was in New York during the run of Irwin Shaw’s play. But as he had come east for his father’s funeral, it is not likely he went to the theatre to see Bury the Dead. He did, however, see Dead End, as reported by Harrison (1983, 161). More likely, Wilder was influenced by the poem Spoon River Anthology, which he knew well (37). 39. My quotations are from Wilder, Three Plays (1985). 40. On Wilder’s Platonism, see Lifton (13–16) and Hacker-Daniels. 41. Harrison, 149. My quotations are from The Collected Short Plays of Thornton Wilder: Volume 1 (1997). 42. The 1991 Lincoln Center production with Spalding Gray as the Stage Manager memo- rably emphasized the anti-sentimental dimensions of the play.

CHAPTER 4: THE “MEMORY PLAY” AND AFTER: NARRATIVE PARADIGMS

1. Surprisingly, Bruner mentions neither Halbwachs nor Bartlett, in whose footsteps he clearly follows. Pillemer (1998, 5–13 and Bibliography) discusses key publications from the 1970s through the 1990s, some addressing memory and narrative. Among psy- chologists of the period, Alfred Adler, Erik Erikson, Ernst Kris and Lawrence Kubie (q. v. below) showed some interest in narrative, though they rarely connected it with memory. 2. Page 7. Quotations are from the 1945 edition. 3. Louis Kronenberger for the New York Newspaper PM, as quoted in Crandell, who includes other reviews (18–28). 4. Page 143. My quotations are from the New Directions edition (1971), which contains the more extensive stage directions, production notes and description of characters missing from the Dramatists Play Service Acting Edition. It also contains the directions for the projections cut from the original production. 5. In the Memoirs, Williams acknowledges “unusually close relations” with his sister, while denying “carnal knowledge” (119). 6. I would demur, however, from Parker’s dated judgment that it was “this [sibling] relationship that helped to establish Williams’s homosexuality” (“The Circle Closed,” 129). 7. Quotations are from the 1976 edition. 8. Quotations are from the 1995 edition, with an Introduction by Eve Adamson, who directed the premiere for the Jean Cocteau Repertory off-Broadway. 282 Notes

9. See Saddik (1999, 134). A notable exception to the negative reception was Dan Issac, whose review of the 1981 premiere production is reprinted in Crandell (278–282). 10. Richard Watts, Jr., praised Miller’s unpretentious use of “stream-of-consciousness technique”; Ward Morehouse noted “flashbacks bringing forth episodes out of the past,” while William Hawkins noted the play’s traverse “into the realm of memory and imagination,” but said the technique could not be called flashback “because the transitions are so immediate and logical”—all reviews dated February 11, 1949. 11. See Collected Plays (1: 31–36) and “Tragedy and the Common Man” (1949). 12. Though not literally, as Aristotle’s word for dramatic character was ethos. We owe character to Aristotle’s successor at the Lyceum, Theophrastus, who used the word for the personality types he described in brief sketches. 13. Miller also likely had in mind Camus’ The Fall; see Bigsby (2005, 233). 14. All quotations are from the 1964 edition. 15. All quotations are from the 1986 edition. 16. Arthur Miller, The Ride Down Mt. Morgan (1991), 44. Subsequent quotations are from this edition, though Miller tinkered with the play through its 1998 revival at the New York Public Theatre. 17. Bigsby’s analysis of the two versions of the text indicates that Miller’s revisions suggest more consistently that the play follows the workings of Lyman’s mind (Arthur Miller, 374–379). 18. Quotations are from the 1959 Random House edition. 19. Schacter’s (1996) chapter, “Reflections in a Curved Mirror: Memory Distortion,” offers a good introduction to the issue from a psychological perspective. 20. Quotations are from the 1980 Faber and Faber edition. 21. Patrick (1976) indicates that sections of the Kennedy’s Children were performed as early as 1970, but the play had taken on much of its current form by 1973. Quotations are from the Random House edition. 22. Quotations are from the Hill and Wang edition. 23. Quotations are from the Proscenium Press edition. 24. Shaffer’s enthusiasm for Jung is well-documented; see Shaffer (1975). 25. A similar, anti-analytical stance is taken in John Pielmeier’s imitative and sensationalis- tic Agnes of God (1982), where repressed memories intersect with Christian mysticism; see Daniel Wright (1986). 26. Quotations are from the 1991 edition. 27. Quotations are from the 1967 edition. 28. The text of “The Mirror Stage” is available in Lacan’s Écrits (1977); quotations are from this edition. 29. Fuddy Meers more closely resembles Lee Thuna’s farcical Fugue (1986), whose central character is a woman with the severe amnesia termed “fugue state.” 30. Any review of the scientific literature on the subject will likely be subject to opposition from one quarter or another; consensus is not easily established, and research is ongo- ing. Balanced appraisals are available in Schacter (1996), Pezdek and Banks (1996), and Davies and Dalgleish (2001), on whom I rely in what follows. 31. Carey was reporting on a contest to identify any literary account of the phenomenon prior to 1800. The results of the Harvard study are published at http://biopsychlab. com/challenge.html. 32. See Ross Cheit, “The Recovered Memory Project,” at: http://www.brown.edu/Depart- ments/Taubman_Center/. 33. My quotations are from the Nick Hern edition. 34. Bass and Davis, The Courage to Heal (1988), has sold over 750,000 copies. Notes 283

35. Oleanna, directed by Harold Pinter at the Royal Court in 1993, left a strong impression on British theatre. Joe Penhall’s Blue/Orange similarly shows its influence. Pinter’s Old Times, with a man, memories and two women, one named Anna, also seems to have been in Cullen’s mind. 36. Denial was available to me only as a DVD (2000), recorded at a live performance and including an additional interview with the playwright. All quotations are from this edition. 37. Quotations are from the 2003 edition. 38. Quotations are from the 2007 edition.

CHAPTER 5: DRAMA OF MNEMIC SIGNS

1. Edelman (1992, 246–249) discusses Lakoff’s and Johnson’s theories. 2. See Gorman (1997) for an accessible discussion in which consciousness studies are placed in the context of the most basic disagreements over what models are useful (com- puter or organic); whether brain and mind operations are different from each other; how to distinguish the objective from the subjective—and whether any of these are even the right questions. 3. The complexity of Edelman’s conception of neuronal pathways regularly requires diagrams. Figure 3.1 on p. 45 of Remembered Present does an excellent job of representing these mapping operations. See also Figures 5, 6, 7, 9, and 11 in Wider Than the Sky. 4. “Degeneracy” is related to the concept of “graceful degradation,” which recognizes that distributed memory traces survive radical brain trauma or surgery. On the latter, see Draaisma (174). The concept apparently echoes the idea of degenerate energy levels in physics, meaning different arrangements of a physical system that nonetheless have the same energy. 5. Intriguingly, the metaphor of rivulets may be traced culturally back through distributed memory theorists like William James and David Hartley (see Sutton, 245) to its “source,” the spring of Mnemosyne in Greek mythology. 6. I have not purged all such locutions from my text, choosing to retain them when they more readily convey a meaning in context without inviting a return to older theories. 7. Damasio espouses this theory in the more popular and well-known Descartes’ Error (1994), frequently citing Edelman. 8. Cronin (120 and 127), documents that Beckett was lecturing on Bergson at Trinity College, Dublin, while he was writing Proust. 9. All quotations are from the 1958 edition. 10. Zeno’s paradox is referred to in the opening lines of Endgame (1). Though I cannot cite a direct reference, I imagine Beckett was influenced by Italo Svevo’s Zeno’s Conscience (1930), a novel touted by Joyce, with whom Beckett was closest in the early 1930s. 11. Rough for Theatre II and What Where are available in Collected Shorter Plays (1984); see 77, 79, 310, 311, 316. 12. Act Without Words (without the Roman numeral, which it acquired when published with Act Without Words II by Grove Press in 1958) was first performed at the Royal Court in 1957 as a companion piece to Endgame. 13. All quotations are from the 1961 edition. 14. All quotations are from the 1957 edition. 15. Clancey (320), employs this phrase in the context of discussing the reduced capacities of individuals suffering from dissociated personality disorder. 284 Notes

16. Beckett’s own notation to his production notebook for the 1969 Schiller-Theater production, in Knowlton (1992, 181). 17. Beckett had two operations to alleviate his glaucoma, one in 1970 and another in 1971, a year before the writing of Not I. Cronin testifies that Beckett “‘had lost the memory of what good eyesight could be and when the results were apparent he was amazed at the light which flooded in from all sides, forcing him to wear dark glasses for a while” (548). 18. On disconnection syndromes including blindsight, the one most relevant to Beckett, see Edelman (2004, 143). 19. Quoted on the book jacket of Landscape and Silence (1969). Subsequent quotations from these two plays and Night are from this edition. 20. Pinter here and there suggests a movement (“‘BATES moves to ELLEN,” 205, e. g.), but the action suggests a few more changes of position than he specifies. 21. All quotations are from the 1971 edition. This image might be traced back to Krapp’s memory of love-making in the punt: “‘I lay down across her with my face in her breasts and my hand on her. We lay there without moving. But under us all moved, and moved us, gently, up and down, and from side to side” (Krapp’s Last Tape, 23). 22. Cited in Homan (1993), 20. Critical commentary on the play is well-summarized in this volume (19–29). 23. When Deeley tells the story capped with “and there she is,” it is left deliberately ambigu- ous as to whom he is addressing or alluding to (30). 24. A Kind of Alaska was published in Other Places: Four Plays by Harold Pinter. Quotations are from this edition. Pinter’s introductory note acknowledges the inspiration of Sacks’s Awakenings and explains the conditions of the disease (10). 25. All quotations are from 2005 Collected Plays edition. 26. The details are autobiographical; see Lahr (1994). 27. For a list of analytic, nonanalytic and feminist responses to Dora’s case, see Evans (1982). 28. On the complex generation of the play, see Hanrahan (1998) and Benmussa’s “‘Introduction” to Benmussa Directs (1979), 10. This edition includes the text of Anita Barrows’ translation of Portrait of Dora, from which my quotations are taken. Hanrahan notes that Benmussa’s production injuriously conflated the Voice of the Play and Freud, a distinction in Cixous’ original text, which Cixous restored in the second edition. The English translation by Barrows preserves the original distinction of separate voices. 29. Dobson (2002), 29, quotes Jane Gallop approvingly on the sexual joy of the relationship, while Hanrahan (54), sees it as less salutary. 30. This is Haaken’s phrase (104), drawn from her discussion of Cixous and Luce Irigaray. I have applied it to Dora. 31. See Kimura (2002) and Leichtman et al. (2003), who caution that “‘cultural differences in autobiographical memory cannot be equated with sex differences. . . . Contrary to pat- terns of cultural difference, women appear to more strongly value and clearly recall personal event memories than do men” (93). The jury is still out on all this. 32. See a Deborah Solomon interview with neuropsychiatrist Louann Brizendine (2006). Perhaps it needs to be said that male/female physiology in no sense implies a sex-based difference in reliability of memory. 33. The play is directly contemporary with Baudrillard’s Simulacre et Simulation (1981, English translation 1983). 34. The term is Aby Warburg’s, according to Gross (2000, 108). For Warburg, however, it had only positive connotations. 35. Alisa Simon in her Foreword to The Alexander Plays (1992, xv). All quotations are from this edition. Notes 285

36. Quotations are from the 1996 edition. 37. Quotation from Buried Child in Seven Plays (1981), 130. 38. All quotations are from the 1986 edition. 39. Baylor’s costume is specified as camouflage, and Mike is very likely costumed similarly. 40. For James, who coined the term “‘empirical self,” see Chapter 10 (“‘The Consciousness of Self”) in Principles of Psychology; for Sacks see above, Chapter 4; for Baars (1997, 142–151). 41. Quotations are from the 1999 edition. 42. Taylor (1999). Billington, “‘Mnemonic” (1999) put the play in the context of Borges’ “‘Funes the Memorious,” Peter Brook’s Je suis un Phénoméne (based on Luria’s book on the Russian hypermnemonist) and of Pinter, noting that Pinter and Mnemonic both emphasize the creative nature of memory.

CHAPTER 6: CONFRONTATION OR CONVERGENCE: STAGING THE ENCOUNTER OF HISTORY AND MEMORY

1. Quoted on a useful Web site at Lehigh University, “The Enola Gay Controversy,” http://www.lehigh.edu/~ineng/enola/, archiving many documents associated with the controversy. “Enola Gay” was the name of the plane that dropped the atom bomb on Hiroshima. 2. My small selection of plays from the vast literature of the Holocaust is neither represen- tative of the whole nor exhaustive of those Holocaust plays in which memory figures. For a list of over 300 dramas, see Goldfarb, 1998. 3. Subsequent quotations are from this edition. 4. Quotations are from this edition. 5. I borrow this phrase from the review of the United States Holocaust Memorial Museum by Muschamp (1993). 6. For a discussion of the shift in emphasis to the survivor in these plays see Goldfarb, “Inadequate Memories” in Schumacher (1998). 7. Quotations are from the 1952 edition. 8. Quotations are from the 1983 edition. 9. Good opened at the Warehouse in September 1981 and subsequently at the Aldwych in April 1982. In between The Portage opened in February 1982. Coveney (1982) and Cushman (1982) both compare the risks taken by the Steiner play and by Good in voic- ing perpetrator perspectives. 10. I draw on Barbara Freedman’s (1991, 34) reading of Lacan in an entirely different context. 11. Qui Rapportera Ces Paroles? was translated for inclusion in Skloot (1982). Quotations are from this edition. The English title fails to convey the memoried nuance of “rapportera” and would better be translated as Who Will Bear Witness? 12. Rose Yalow Kamel (2000), “Written on the Body: Narrative Re-Presentation in Charlotte Delbo’s Auschwitz and After.” 13. Quotations are from the 1992 edition. 14. For a sociological perspective on the persistence of the past, see Schudson (1989). 15. Gardner saved this clipping, showing it to Ross Wetzsteon (1992). 16. Walter Winchell, the showbiz gossip columnist. 17. Intriguingly, Gardner’s brother Allen doesn’t remember the prevailing anti-Semitism the playwright chronicles, according to the Wetzsteon interview (52–53). 286 Notes

18. See Pillemer (1998), Chapter 6; also, Nelson and Fivush, in Tulving and Craik; and Fivush and Haden (2003), for extensive bibliographies and current scholarship. Leichtman et al. in Fivush/Haden note, for example, that cultures valuing independence facilitate “creating a unique, detailed, and accessible store of autobiographical memories” (75) more effectively than cultures valuing a collective past. This breaks down roughly into West/independence, East/collective. 19. Subsequent to writing this piece, bell hooks dropped the upper case from her name. 20. Nora is extremely unlikely to have had any influence on August Wilson, George C. Wolfe, and Suzan-Lori Parks, all of whom were writing plays prior to the publication of the English translation of Nora’s “Between Memory and History: Les Lieux de Mémoire” in 1989. Scholarship on African American drama, however, has been Nora-influenced since the inclusion of the Nora piece in Fabre and O’Meally (1994). 21. Quotations are from the 1990 edition. 22. I doubt anyone proposed to Wilson that there are similarities between Piano Lesson and Cherry Orchard. Wilson famously and repeatedly denied that he was familiar with Western drama when he embarked upon the cycle. When Bonnie Lyons brought up Chekhov to Wilson in 1997, he replied “I didn’t know Chekhov’s work, so there is no question of influence, but when I saw Uncle Vanya, I thought, ‘He’s cool. . . . ’ It was good that I saw Vanya since I had thought I was doing something unique” (in Bryer and Hartig, 214). I don’t know what production of Uncle Vanya Wilson is referring to, but the Pittsburgh Public Theatre mounted it in 1976, the same season Wilson saw Sizwe Bansi Is Dead there (see 1987 interview with David Savran in ibid., 23). On the 1976 Pittsburgh Public Theatre season, see my review (1977). Jitney, the first of what became the ten-play cycle, premiered in Pittsburgh in 1982. 23. “The Play,” n.p. Quotations are from the 1988 edition. 24. I cannot concur with Elam’s descriptions (21–23, 29, 53, 104, 185–186) of music in Wilson’s work as lieux de mémoire. 25. Wilson would not need a single source for the way in which music emerges naturally out of conversation, but he could have found one in “Blues in the Mississippi Night,” a 1959 LP release of an Alan Lomax recording made in 1946. Lomax recorded Big Bill Broonzy, Memphis Slim, and Sonny Boy Williamson playing, singing, and reminiscing about the South and the legacy of slavery. The musical selections cover the range of music in The Piano Lesson, including a chain gang version of “O Berta,” Wilson’s show-stopper. 26. Quotations are from the 2006 edition. 27. Private conversation, February 2007. 28. Both Wolfe and Parks also have an interest in reimagining black history in, respectively, Jelly’s Last Jam and Venus. 29. Quotations are from the 1991 edition. 30. Quotations are from the 1995 edition. 31. Parks discusses her aesthetics in the introduction to her collection of plays (9); also see Morrison, in McConkey (1996). 32. The text is available in Geiogamah and Darby (1999). Geiogamah’s play relates to the aims of the American Indian Movement. 33. Text available in D’Aponte 1999. 34. Text in D’Aponte; see scene 21 (191–195). 35. See Geiogamah’s “Introduction” to Stories of Our Way (1–2). 36. Sergel (1996, 11). Sergel is not, to my knowledge, Native American, but his work was sanctioned by Black Elk’s family and produced with a Native American cast at the Denver Center Theatre in 1993. Notes 287

37. “The Pleasure of the (Irish) Text” in the playbill for the Pittsburgh Public Theater’s 1997 production of The Steward of Christendom, n. p. 38. Quotations are from the 1995 edition. 39. Such inconsistencies are less obvious in performance, particularly since Barry’s careful stage directions for lighting subtly manage the shades of memory. 40. Miller (2002, 14) suggests that psychoanalysis describes the relationship of history to the subject in terms of symptoms. 41. Full text and Freed’s introductory essay in Favorini (1995); quotations are from this edition. 42. In 1995 the National Security Agency released transcripts of translated, decrypted Soviet cables proving beyond reasonable doubt that the Rosenbergs were spies. A useful Web site, linked to the so-called Venona documents, is http://www.pbs.org/wgbh/nova/ venona/intercepts.html. 43. The script is unpublished. My account is derived from the author’s typescript, a letter he sent to me, the playbill, and reviews. 44. In an interview with the author, January 27, 1994. 45. Testimonies (1997) contains Annulla, Still Life, Execution of Justice, and Greensboro; Having Our Say is available from Dramatists Play Service (1995). All quotations are from these editions. 46. Clive Barnes in his New York Post review of Having Our Say (1995), refers to “Emily Mann, who is also described, a little cheekily, as the ‘playwright.’” 47. Pope (87), cites an unpublished interview of Mann by Gary Dawson in which Mann says she was reading Piscator during the writing of Execution of Justice. 48. A fire at the Eureka prevented the production of the play there, though it had a reading in San Francisco and a subsequent 1985 production in neighboring Berkeley. Tony Taccone of the Eureka is also credited with commissioning the play. 49. See William Kleb’s review of the Louisville production reprinted in Favorini (1995, 332–337). 50. The author of this review was an AIDS activist, who died of the disease. 51. Mann told Pope (117–118 and 189), that she didn’t know how or whether to proceed with the documentary form in view of the plethora of hyperreal images in contemporary society. She has not written another documentary since Greensboro. Her latest work, Mrs. Packard (2007), is a fact-based but not documentary work. 52. The McCarter production was not directed by Mann, who usually directs her productions, but by Mark Wing-Davey. A subsequent production on the twentieth anniversary of the killings was directed by Marsha Paludan with students at the University of North Carolina at Greensboro. 53. In the period between writing Having Our Say and Greensboro, Mann was diagnosed with multiple sclerosis. 54. I am quoting Ong (1971, 290), who generalizes about verbalization in this context. 55. On the disqualification, see Weber (1994); for more on Smith’s roots, see Favorini in Kalogeras and Pastourmatzi 1996. 56. Coincidentally, Smith served on the Drama Faculty at Carnegie-Mellon University in Pittsburgh with Ruth Draper’s devoted and accomplished nephew, Paul Draper, in the late 1970s. During this same period, two documentaries employing oral history were produced at the University of Pittsburgh (Steel/City and Favorini’s Hearts and Diamonds [unpublished]). 57. Smith’s more recent work, House Arrest (2003, about White House characters) and Let Me Down Easy (2007, an exploration of attitudes toward the body) abandons her earlier memorial perspective. 288 Notes

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Abaire, David Lindsay Aquinas, Thomas, 17, 20 Fuddy Meers, 8, 170, 282n. 29 archetypes, 6, 8, 88, 103–7, 165–8, 231 active/passive memory traditions, 2, 6, 15, in Dancing at Lughnasa, 166–7 94 in Equus, 164–6 Aeschylus, 5, 15, 35, 60, 84, 277n. 2, 3, 4, see also Jung, Carl 7, 12, 14 Ariès, Philippe, 48 The Persians, 47–58 Aristotle, 2–3, 13–18, 20, 24, 30–3, 53, 58, Prometheus Bound, 55 149, 151, 214, 231, 275n. 5, 276n. 17, Albee, Edward, 208–10, 213, 217 282n. 12 Three Tall Women, 208–10 anagorisis or recognition, 14–15 Albertus Magnus, 17, 20 analogy, 33 Alexander, Jeffrey C., 230–1, 233–4 associationism, 31–2 amnesia, 6–9, 22, 26, 30, 88, 92–4, 96, contrast with Plato on memory, 2, 14 99, 103, 111–13, 115, 124, 128–9, De Anima, 24, 276n. 17 155, 157, 167–71, 175, 218–19, 222, De Memoria et Reminiscentia, 15, 17, 20, 227–8, 257, 266–7, 282n. 29 24, 275n. 5 anterograde/retrograde, 170 and mnemotechnics, 14–15 The Drawer Boy, 171 Poetics, 15–16, 26, 53, 277n. 8 Fuddy Meers, 8, 170, 282n. 29 associationism, 14–15, 31–2, 90 Home of the Brave, 129, 170 Atkinson, Brooks, 117, 122, 232–3 induced by encephalitis lethargica, 112–13, atomic bomb, 47, 77, 228–9, 285n. 1 205–7 Augustine, 17–18, 65, 137, 275n. 9, 10 Janet’s emphasis on, 95 Auletta, Robert, 47, 50, 57 A Kind of Alaska, 180, 205–7, 284n. 24 Auschwitz, 77–9, 238–42, 285n. 12 in Pirandello, 109–15 autobiographical memory, 7, 17–18, 28, Siegfried, 168–9 94, 96, 103, 137–8, 141, 151, 154–5, Traveler Without Luggage, 168–70 159–61, 188, 209, 238–46, 284n. 31 see also forgetting defined, 7, 141 anagnorisis, 13, 15, 214 and narrative, 151, 160 Dionysiac, 16 and social framework, 116–18, 238–9, Pirandellian, 111 246 Sophoclean, 107 surge of, in drama, 138ff. see also recognition see also E-MOPS; episodic memory anamnesia, 30, 112, 180, 197 autobiography, 3, 93, 149, 154–5, 161, 163, Anderson, Robert 222, 261–2 I Never Sang for My Father, 164 in Albee, 284n. 26 animal spirits, 24, 29, 31 in Beckett, 180, 184–5, 190, 193–4, Anouilh, Jean, 69–70, 113, 115 283n. 8 The Lark, 69 in Conversations With My Father, 243–5 Traveler Without Luggage, 168–70 in Kennedy, Adrienne, 213–17 Anselm, 17 in Miller, 149, 152–6 anti-memory, 92–3, 241 in Potter, 222–4 310 Index autobiography—continued Bernard, 17 in The Steward of Christendom, 255–6 Bernhard, Thomas, 1, 271 in Who Will Carry the Word?, 240–3 Berrigan, S. J., Dan in Williams, Tennessee, 138–47 Trial of the Catonsville Nine, 79–81, 278n. 45 Baars, Bernard J., 3, 87, 148, 182, 214, 222, Betsko, Kathleen, 262–6, 268 285n. 40 Betterton, Thomas, 35 Bacon, Francis, 31, 63 Bichat, Marie-François-Xavier, 32 Banks, William P., 172, 282n. 30 Bigsby, C. W. E., 121, 142, 149, 155, 157, Barry, Elizabeth, 35 218, 232, 282n. 13, a7 Barry, Sebastian, 10, 229 bilingual rememberers, 143, 163 The Steward of Christendom, 245–6, Billington, Michael, 207, 237, 285n. 42 287n. 39 Black Elk, 229, 254, 286n. 36 Barrymores, John and Lionel, 126 see also Sergel, Christopher Barsalou, Lawrence, 154 Blau, Herbert, 147 Bartlett, Frederic, 4, 6, 8–9, 88–9, 105, 124, Blight, David, 246 135–7, 154, 180, 182, 258, 281 bodily memory, 1, 3, 100, 102, 147, 185 see also schemata and Bergson, 89–90 Bearden, Romare, 252 Bolt, Robert Beare, W., 59 A Man for All Seasons, 71 Beckett, Samuel, 1, 9, 92, 143, 179–80, Bond, Edward, 69–70, 72, 84 184–94, 197, 208–10, 215, 228, 242, Early Morning, 72 255, 283n. 8, 10, 284n. 16, 17 Booth, James W., 246 absence in, 189–91, 193–4 Borchert, Wolfgang Act Without Words I, 187, 283n. 12 The Man Outside, 235–6 Cartesianism, 9, 185 Bossuet, J.-B., 66, 278n. 31 Catastrophe, 187 Bottoms, Stephen J., 217–18, 220–1 consciousness in, 184–94 Boucicault, Dion Endgame, 143, 186–8, 192, 283n. 10, 12 Louis XI, 68 Footfalls, 187 Rip Van Winkle, 5, 41–2 habit in, 185–7, 190–1 Boutell, Elizabeth, 35 Happy Days, 186, 188–9, 194 Bracegirdle, Anne, 35 Krapp’s Last Tape, 186–95, 208, 284n. 21 Bradwardine, Thomas, 19 Not I, 187–94 Brady, Alice, 127–8 Play, 192, 194 brain injury and memory, 94, 127, 168, Proust, 9, 185–7, 189, 191–2 170–1, 189, 283n. 4 Rockaby, 187–9, 194 in A Lie of the Mind, 218–21 Rough for Theatre II, 187, 283n. 11 branching memories, 8, 92, 145, 154, 208 That Time, 187–9, 192–3, 208, 210 Brando, Marlon, 139 Waiting for Godot, 9, 186–8, 192 Brantley, Ben, 159, 232, 247 What Where, 187, 283n. 11 Bratton, J. S., 68 Words and Music, 215 Brecht, Bertolt, 67, 69, 74, 252, 272 Bede, 17 Brenton, Howard, 72 Benecke, F. E., 33 Breuer, Josef, 6, 87–8, 95–6, 98, 127, Benmussa, Simone, 9, 215, 211, 213, 279n. 2, 3 284n. 28 Broadhead, H. D., 52 Bergman, Ingmar, 197, 199 Broca, Paul, 33, 220 Bergson, Henri, 6, 88–90, 94, 125, 180, Brook, Peter, 271, 285n. 42 185–6, 190, 280n. 19, 283n. 8 Brown, John Mason, 119, 280n. 26 Berkeley, George, 32 Brown, Laura, 35–8 Index 311

Brown, Roger, 137, 159 Don Quixote, 62 Brown, Thomas, 32, 45 The Siege of Numantia, 65 Bruner, Jerome, 138, 149, 159, 281n. 1 characters Bruno, Giordano, 5, 17, 19, 21–2, 26, 30–1 coreless, 34 Bryer, Jackson R., 229, 247, 249–51, 286 n. 22 as opposed to “figures of drama,” Büchner, Georg 69 Danton’s Death, 67–8, 272 rise of remembering, 13, Burke, Peter, 59, 62 87–136 Burnyeat, Miles, 14, 275n. 5 Chatrian, Alexandre, 42–3 Bursen, Howard, 93 Cheeseman, Peter, 6, 82–4, 257, 261, 268, 271, 279n. 48, 49 Cabanis, Pierre Jean George, 32 The Burning Mountain, 82 Calderon de la Barca Fight for Shelton Bar, 84 Constant Prince, 62 The Jolly Potters, 82 Camillo, Giulio, 17, 20–1 The Knotty, 82–4 Campbell, Sue, 32, 90, 93, 172–3, 175, Nice Girls, 82, 84 178, 203, 205, 212 Six Into One, 82 Camus, Albert, 69 The Staffordshire Rebels, 82 Caligula, 70 Chekhov, Anton, 140, 248, 286n. 22 The Fall, 282n. 13 Chernobyl, 79–81 The Misunderstanding, 36–40, 276n. 26 childhood memories, 87–8, 100–1, 126, Canby, Vincent, 232, 267 172, 177, 224 Carlson, Marvin, 1, 67 in The Burned House, 99–103 Carruthers, Mary, 18–19, 60 Freud, 87–8, 98–103 Cartesianism, 9, 14, 92, 185, 276n. 2 sexual: in Anna Weiss, 172–4; Caruth, Cathy, 228, 261–2, 264 in Denial, 174–5; in Dora, 210–12; Casey, Edward, 2–4, 7, 13, 15–16, 31–2, in How I Learned to Drive, 161–2; 45, 90, 94–5, 119, 131–5, 138, 147, in In a Dark, Dark, House, 176–8; 157, 202–4, 217, 251, 253, 255, 273, in A Reckoning, 175–6 275n. 1, 5, 288n. 59 Churchill, Caryl, 69, 271 autonomy of memory, 203–4 Cibber, Colley, 35, 63 eidetic features of memory, 217 Cicero, 17–18 memory beyond mind, 90 Cimon, 51 memory frame, 132, 134 civic pageantry, 5, 61, 64, 73 memory of place, 132–3 Cixous, Hélène, 9, 17, 115, 210–13 morphology of memory, 204 Portrait of Dora, 210–13, 284n. 27, 28, perdurance, 131 30 quasi-narrative, 138 Clancey, William, 182–3, 283n. 13 recognition, 16 cognitive science, 2–5, 9, 20, 87, 92, 95, remenance, 45, 202 124–5, 162, 179–85 ruminescence, 95, 135 Coleman, Janet, 18–20, 24, 275n. 1, 4, 9 see also active/passive memory traditions; Coleridge, Samuel Taylor, 323 eidetic features under memory collatio, 5, 19 cathexis, 152, 155 collective memory, 3, 42, 48, 59, 61, 63, 70, 74, cerebration, 4, 8–9, 16–17, 89, 103, 124, 83, 89–94, 103, 130, 165, 179, 218–19, 152, 180, 182, 184, 194, 204, 207–9, 229–31, 235, 240, 242–6, 249–51, 254, 211, 22 261, 270, 277n. 5, 280n. 28 as performance, 182, 214, 217 and history, 5, 15, 48, 229, 242–6 de Certeau, Michel, 83 and individual memory (Reunion in de Cervantes, Miguel, 62, 65 Vienna), 116–23 312 Index collective memory—continued degeneracy in The Persians, 51–7 as cerebral system property, 183–4, see also Halbwachs, Maurice 283n. 4 collective unconscious, 6, 103–7, 125, Delbo, Charlotte, 10, 172, 228–9 130, 165 Who Will Carry the Word?, 240–3, see also Jung, Carl 285n. 12 commemoration, 5, 47–9, 52, 54, 58–69, Deleuze, Gilles, 93 84, 90, 93, 116, 136 de-presentation, 204, 206 ceremonies, 24, 29, 74–7, 79, 227, 229, Descartes, René, 1, 29, 31–2, 283n. 7 278 Dewey, John, 33 commemorative culture, 5, 59–61 Dilman, Ilham, 279n. 2 commemorative domain(s), 10, 229–56, dissociation, 17, 62, 92, 95, 99, 167–8, 175, 259, 261, 266–7 179–80, 194, 225 African-American, 245–53 documentary drama, 5–6, 10, 64, 66–7, anti-commemorative, 246, 251–3 69–70, 73–85, 138, 171, 235–6, 254, differences among, 245 256–74 gay, 254 American, 81–2, 258–71 Irish, 254–6 British, 82–5, 257–8 Jewish, 228–34, 243–5 definition, 75–6 Native-American, 253–4 German, 73–9 commemorative vigilance, 132, 251 liturgical, 79–81 Concanen, Alfred, 43 as opposed to historical drama, 76 de Condillac, Étienne Bonnot, 32 pseudo-documentaries, 257 connectionism, 1, 207, 220–1, 223, 227 and regionalism, 82 definition of, 207 Domansky, Elisabeth, 228 Connerton, Paul, 48, 75, 77, 90, 278n. 39 Donald, Merlin, 4, 20, 180 Conte, Gian Biagio, 58 Donohue, Joseph, 34, 36–7, 39 Coquelin, Constant, 43 Doyle, Arthur Conan, 123 Corneille, Pierre, 34, 64 Draaisma, Douwe, 10–11, 14, 19, 275n. 1, Cornford, F. M., 275n. 2 283n. 4 counter-memory, 92–3, 100, 115, 269 dreams Craik, Fergus I. M., 275n. 1, 286n. 18 and memories, 43–5, 92, 101, 104, Cronin, Anthony, 180, 184, 190, 193–4, 108, 111–12, 116, 126–8, 156, 283n. 8, 284n. 17 211–13, 217, 223, 225, 272–4, Cullen, Mike 279n. 13 Anna Weiss, 172–5 Dryden, John All For Love, 5, 34–6 Damashek, Barbara, 81–2 Du Bois, W. E. B., 246–7 Damasio, Antonio, 222, 283n. 7 dumb show, 23, 26 Dante, 18, 78–80, 193, 277n. 22, 278n. 44 Darnton, Robert, 66 Ebbinghaus, Hermann, 33, 89, 137 Darwinism, 33, 45, 103–4, 121, 131, 182 Edelman, Gerald, 3–4, 9, 33, 87, 92, 103, Daviot, Gordon 123–5, 130, 180–94, 202, 206, 222, Richard of Bordeaux, 70–2 227, 273, 280n. 32, 283n. 1, 3, 7, Davis, Natalie, 66 284n. 18 Davis, Owen see also reentry Forever After, 123, 127–8 Einstein, Albert, 200 Dawkins, Richard, 3, 102 Elam, Harry, 247, 249–50, 286n. 24 Deak, Frantisek, 73 Eliot, T. S., 88–9, 105, 130, 133 DeConcini, Barbara, 17, 45, 180, 275n. 4, 9 emblems, 26, 30, 61, 276n. 18 Index 313

E-MOPS (event-memory organization forgetting, 7, 29, 36–8, 40–1, 92–3, 96, packets), 154 104, 107, 109–10, 112, 119, 124. 129, emotional memory, 88, 120 137–8, 144, 167–78, 179, 186, 198, encapsulated memories, 7, 150, 154, 158, 204, 209, 218–19, 232, 240–1, 247, 165 254, 256, 271–4 encoding phase, 4, 32, 36, 45, 128, 151 as adaptive, 184 Enders, Jody, 18, 60, 277n. 23, 25 and loss of identity, 29, 36, 41, engram, 8, 89–90, 180, 213 232 see also Semon, Richard twinned with remembering, 14, 16, 22–3, episodic memory, 7, 140, 160–1, 185, 246 40, 91, 109, 124, 137–8, 157, 186, see also autobiographical memory 247, 256, 271–4 Erasmus, 24, 30–1 Fornes, Maria Irene, 172, 220 Erckmann, Emile The Danube, 213–14 Le Juif Polonais, 42–3 Forty, Adrian, 171 essentialism, 245–6, 250 Foucault, Michel, 48–9, 93, 251, 274 Essex, Robert Earl of, 65, 71 Frankel, Fred H., 98 Eucharist, 30, 242 Freed, Donald, 10, 76 Euripides, 15–17, 52, 58, 167 Inquest, 258–9 Bacchae, 16–17 Freedman, Barbara, 25, 285n. 10 compared with Dancing at Lughnasa, 167 French Revolution, 49, 62, 121, 272 Eustis, Oscar, 265 drama of, 5, 66–8 Evans, J. A. S., 54–5 Freud, Sigmund, 4, 6–9, 11, 17, 25, 45, 48, Evans, Martha Noel, 212, 284n. 27 87–8, 91–111, 115–16, 119–27, 140, Evans, Rand B., 124, 280n. 32 142, 144, 146, 157, 164–5, 167–8, Evans, Richard I., 148–9, 153 171, 205, 210–12, 256, 279n. 1–4, 7, evolution, 2–3, 20, 33, 88, 91–2, 94, 104, 8, 13, 280n. 19, 26–8, 284n. 28 107, 137, 181, 183–4, 191, 220 and Janet, 94–9, 165, 167, 279n. 4, 7 memory as adaptation, 88, 181, 183–4, and Jung, 4, 6–8, 94, 111, 116, 144, 157, 191, 220 167–8 observer memory/field memory fabula praetexta, 59 distinction, 7, 140 false memory syndrome, 93–4, 171, 177–8, repression, 88, 95, 98–9, 146, 165, 257 167–8, 171–2 see also recovered memory and “scene,” 87–8 Favorini, Attilio, 77, 81, 278n. 37, 38, 41, seduction theory, 93 46, 279n. 49, 50, 287n. 41, 49, 55, 56 Fridja, Nico H., 250 Federal Theatre Project, 76–7 Friel, Brian, 103, 255 Ferguson, Adam, 32 Dancing at Lughnasa, 164, 166–7, 243 Ferguson, Robert, 96, 279n. 6, 10 Faith Healer, 158–9 Fivush, Robyn, 159, 162, 246, 286n. 18 Froissart, Jean, 66, 71 flashback, 10, 91, 98, 124, 127–8, 133, 135, 148–9, 155–61, 164–6, 172, 211, 215, Gadamer, Hans-Georg, 48, 117 232–3, 255 Gardner, Herb, 279, 285n. 15, 17 in Death of a Salesman, 148–9, 282n. 10 Conversations With My Father, 243–5 first use of, 127, 281n. 36 Garner, Richard, 58, 277n. 3, 12 veridicality of, 98, 158, 172 Garvey, Peggy, 275n. 7 flashbulb memory, 36, 64, 137, 155, 159 Gay, Peter, 95, 280n. 28 in Kennedy’s Children, 159 Geiogamah, Hanay, 286n. 35 Fludd, Robert, 19, 278n. 29 Foghorn, 253, 286n. 32 Foley, John, 65, 277n. 13 Gelb, Arthur and Barbara, 280 314 Index gender and memory, 2, 9, 23, 92, 94, 161, Halbwachs, Maurice, 4, 6–7, 48–9, 74, 198, 208–21, 245, 269, 271 88–90, 93, 103–5, 116–18, 120, 123, women’s memory plays, 82, 213–17 130, 125, 213, 238, 240, 246, 248, see also individual authors 277n. 5, 280n. 28, 281n. 1 Gentili, Bruno, 59 see also collective memory George, Kathleen, 138 Hall, Edith, 50–2, 54–6, 58, 276n. 1, Gerland, Oliver, 95–6, 98, 279n. 7, 8 277n. 5, 6 Gestalt psychology, 181 hamartia, 50, 53, 151 Gibbons, Thomas Hamilton, William, 33, 180–1 6221, 259–60, 287n. 43 Hampton, Christopher Gielgud, John, 71, 278n. 33 George Steiner’s The Portage to San Ginzburg, Carlo, 66 Cristobal of A. H., 228, 236–8, 240 Giotto, 18 Harada, Hiroko, 236 Giraudoux, Jean, 152 Harben, Niloufer, 70–2 Siegfried, 113, 115, 168, 170 Hare, David, 72 Glanville, Joseph, 31 Harrison, Gilbert, 130, 132, 281n. 38, 41 Globe Theatre, 19, 63, 278n. 29 Harrison, Thomas, 51–3, 277n. 4, 7 Goethe, Johann Wolfgang von Hart, Charles, 35 Faust, 5, 40–1, 238 Hartig, Mary C., 229, 247, 249–51, 286n. 22 Golub, Spencer, 1, 72–3 Hartigan, Karelisa, 56, 277n. 17 Goodrich, Francis Hartley, David, 32, 283n. 5 Diary of Anne Frank, 228, 231–3 Hayman, Ronald, 105, 148, 152 Goorney, Howard, 257–8 Heidegger, Martin, 39, 171 Gordon, Roxy, 252 Herbart, Johann Friedrich, 32–3, 45, 128 Greban, Arnoul, 60 Hernardi, Paul, 70 Greek tragedy, 15–16, 55, 58–9, 87, 111, Herodotus, 48–50, 52, 55, 65, 269 149, 151, 170 Hesiod, 14 see also Aeschylus; Euripedes; Sophocles historical drama, 5–6, 48, 62–3, 84, 229–30 Greenblatt, Stephen, 25, 277n. 17, 21 eighteenth century, 64 Greene, Robert, 5, 21–2, 31 Elizabethan, 63–5 Friar Bacon and Friar Bungay, 21–2 Greek, 49–58 Gringoire, Pierre modernist, 69–73 Vie de St. Louis, 50, 61 nineteenth century, 66–9 Gross, David, 256, 284n. 34 as opposed to documentary, 76 Grotowski, Jerzy, 80–1 postmodern, 271–4 Gruber, William, 213–14 Restoration, 63–4 Guattari, Félix, 93 historical present, 196, 228, 230 Gussow, Mel, 152, 194, 199–201, 262–3, history/memory binary, 1, 5, 47, 49, 61, 265 73, 236 in Aeschylus, 47–58 Haaken, Janice, 94–5, 203, 205, 212, 221, complicated by third faction, 229 284n. 30 in Conversations With My Father, habit and memory, 20 243–4 in Beckett, 185–7, 190–1 in documentary theatre, 256–71 bodily, 88–9 in Holocaust drama, 230–43 Hacker-Daniels, Adrienne, 131, 281n. 40 in Shakespeare, 63–5 Hackett, Albert, 228, 231–3 in Sherwood, 117–22 Hacking, Ian, 88, 94–5, 99, 279n. 4, 5 in Wilson, 247–50 Haden, Catherine A., 159, 162, 286n. 18 see also Halbwachs, Maurice; Hutton, Haeckel, Ernst, 6, 104, 107 Patrick; Nora, Pierre Index 315 history-telling, 10, 50–1, 62, 65–6, 75–6, in Sacks, 112–13 229, 269, 278n. 27, 31 in A. D. Smith, 271 Hobbes, Thomas, 32, 93 in Williams, 142–7 Hobsbawm, Eric, 49 identity dissociation disorder, 17, 99, 123, Hochhuth, Rolf, 77–8 175 Holocaust, 3, 9–10, 47, 57, 77, 153, 155, Ignatius of Loyola, 17 228–43 implanted memory, 8, 89, 172, 175 Americanization of, 233–4 involuntary memory, 153, 186–7, 223 competing commemorative domains, Irving, Henry, 5, 13, 36, 42–5, 68 233–5 Irving, Washington, 41–2 Diary of Anne Frank, 231–5 Irwin-Zarecka, Iwona, 228, 247 George Steiner’s The Portage to San Cristobal of A. H., 236–8 Jacobi, Jolande, 68, 280n. 15 Good, 238–40 James, William, 6–7, 88, 91–2, 129–30, Kasztner, Israel, 233–4 148, 222, 227, 276n. 22, 285n. 40 movies, 233 influence on Edelman, 180 NBC mini-series, 233 on memory, 123–7, 280n. 32, 33, Szenes, Hannah, 233 283n. 5 as trauma drama, 230–1 psychic phenomena, 123–4 United States Holocaust Memorial Jane Eyre, 163 Museum, 231 Janet, Pierre, 6, 18, 88, 111, 137, 279n. 4, 7 Homan, Sidney, 199–201, 284n. 22 and Freud, 94–9, 103, 165, 167–8, 171 Home, Henry, 32 and James, 124–5 Hooks, Bell, 246, 286n. 19 Jefferson, Joseph, 41–2, 276n. 30 Howe, LeAnne Jewish memory, 151, 229, 234 Indian Radio Days, 252 see also Holocaust Hrosvitha, 60 Johnson, Mark, 180, 186, 189, 283n. 1 Hume, David, 32, 113 Jones-Evans, Eric, 42 Hunt, Morton, 31, 124, 280n. 32 Jonson, Ben, 29, 63 Hutton, Patrick, 5, 47–9, 55, 61–2, 84, Sejanus, 63–4 116–17, 251, 270, 274, 278n. 32 Jung, Carl, 88–9, 103–7, 125, 130, 144, Huyssen, Andreas, 233 164, 273, 280n. 15 hypermnesia, 89, 92, 275n. 11, 285n. 42 and Beckett, 185, 189 hypnotism, 7, 44, 92, 99, 165, 280n. 29 and Dancing at Lughnasa, 166–7 hysteria, 87–8, 94–9, 103, 106, 127, 167, and Equus, 165–6, 282n. 24 174, 210, 212, 279n. 2, 3, 5, 7 and Freud, 4, 6–8, 111, 116, 157 and the occult, 123–5, 280n. 30 Ibsen, Henrik, 6, 45, 91, 94–9, 109–10, and O’Neill, 105–7 203, 279n. 10 When We Dead Awaken, 95–9, 279n. 9 Kamel, Rose Yarow, 240–2, 285n. 12 Ibsen, Suzannah, 95–6 Kanins, Fay and Michael identity, 3, 9–10, 17–18, 38–9, 118, 127, Rashomon, 8, 158–9, 179 168–9, 180, 202, 204–5, 219, 223, Kant, Immanuel, 32 225, 242, 268–9, 271, 273, 275n. 7, Kasztner, Israel 11 see under Holocaust in Miller, 149–51, 155 katabasis, 165 in Pirandello, 110–15 Kaufman, Moisés politics, 85, 87–8, 221, 243–56, 264 Laramie Project, 254 as product of memory, 24, 28, 32, 36, Kennedy, Adam 45, 93 Sleep Deprivation Chamber, 217 316 Index

Kennedy, Adrienne, 9, 172, 213, 251 Lesmosyne, 4, 14, 29–30, 144, 266 Dramatic Circle, 215–17 see also Lethe The Film Club, 215 Lessing, Gotthold Ephraim, 34 June and Jean in Concert, 214 lethargy, 23, 26, 28, 112, 180, 205–6, 220 The Ohio State Murders, 215 Lethe, 14, 23, 26, 29, 40, 209 She Talks to Beethoven, 214 Leverich, Lyle, 141, 143 Sleep Deprivation Chamber, 217 Levy, Steven, 193 Kerenyi, Karl, 14 Lewis, Leopold Kesselman, Wendy, 232 The Bells, 42–5 Kipphardt, Heiner, 75, 77 lieu de mémoire, 4, 49, 249–51, 264, 271, Bruder Eichmann, 235–6 274 In the Matter of J. Robert Oppenheimer, see also milieu de mémoire 77 lieu d’histoire, 51, 264 Klein, Kerwin Lee, 47, 229, 249–50 Lillo, George Knowlton, James, 208, 284n. 16 The Fatal Curiosity, 5, 34–9, 41, Koenig, Rachel, 262–6, 268 276n. 26 Kolin, Philip C., 215, 266 The London Merchant, 37 Kovach, Joseph T., 2, 32–3, 89, 181, Limbo, 276n. 20 275n. 1, 276n. 22 Lindenberger, Herbert, 63–5, 278n. 28 Kramer, Mimi, 243 Littlewood, Joan, 10, 82 Küchlet, Susanne, 171 Oh What a Lovely War, 257–8 Kuhns, Richard, 52, 54 liturgy Kulik, James, 137, 159 as commemoration, 75, 77, 237 Kurginian, Sergei dramatized, 60–1, 79–81, 242, 278n. 41 Compensation, 79–81 religious, 79 Stenographic Report, 80 living newspapers, 76 Kushner, Tony, 10, 93 localization, 3, 92, 220, 223 Angels in America, 254 Locke, John, 17, 32, 93 locus, 19 LaBute, Neil Loftus, Elizabeth, 171–2, 205 In a Dark, Dark House, 172, 176–8 Londré, Felicia, 218, 220 Lacan, Jaques, 95, 169–70, 210, 238, 240, Low, Anthony, 275n. 14 282n. 28, 285n. 10 Lull, Raymond, 20 Lakoff, George, 180, 186, 189, 283n. 1 Luria, A. R., 89, 275n. 11, 285n. 42 Lamarck, Jean-Baptiste, 104 Lanzmann, Claude, 228, 235 MacColl, Ewan, 257–8 Laor, Dan, 233–4 Malebrance, Nicolas, 31 Langer, Suzanne 36 Malkin, Jeanette R., 1, 93, 180, 187, 190–3, Last Supper (memorialized), 30, 61, 77, 79, 213, 217, 253, 271–4 81, 242 Malraux, André, 93 De Laszlo, Violet, 105 Mann, Emily, 10, 259–68, 271, 287n. 46–53 Laub, Dori, 228 Annulla, 262–3 Laurents, Arthur as director, 268 Home of the Brave, 129, 170 Execution of Justice, 264–6 Lee, Nathaniel Greensboro, 267–8 The Rival Queens, 34–6 Having Our Say, 266–7 Leibniz, Gottfried Wilhelm, 31 site-specific documentaries, 259, 269, Leonard, Hugh 279n. 49 Da, 164 Still Life, 263–4 Lerud, Theodore K., 19 trauma, 261–3 Index 317

Marathon, Battle of, 51, 53 164–5, 179, 191–2, 215, 217, 238, Marlowe, Christopher, 1, 41 254, 263 Marowitz, Charles, 257 rise of, 137ff. Martin-Harvey, John, 43 memory scene, 19, 42, 101, 123, 161–2, Marx, Karl, 72, 78–80, 121–2, 131, 247, 207–8 258 in cognitive science, 87, 182 Mayer, David, 42–3, 45 empty, 5–6, 34ff., 72 McAdams, Dan P., 151 in psychology, 87, 94, 96 McCowen, Alec, 236–7 in Tennessee Williams, 8, 139ff. McLean, Kate C., 162 memory span, 33 medieval see under Middle Ages memory studies, 2, 32–3, 89–90, 94, 103, Megged, Aharon 159, 180, 211, 227, 251 Hannah Szenes, 233 memory system, 7, 17, 19–20, 31, 89, 140, Meisel, Martin, 68–9 161, 182, 191, 257 meme, 3, 103 memory theatres, 18, 21, 82, 113, 274 memento, 163, 170, 248, 256 memory trace, 1, 3, 15, 20, 25, 31, 89, 95, memographer, 1, 6, 8, 34, 88, 91–2, 94, 140, 180, 207–08, 213, 220, 225, 227, 157, 178–80, 194, 222, 238, 246 283n. 4 memoranda, 17, 36 memory wars, 8, 93–4, 157, 162, 168, memory 171–3, 175 aporia of, 93, 228 metanarratives, 162, 261 as autonomous, 2, 90–1, 134, 179, 197, metonymy, 56, 65, 76, 79, 81, 84, 186, 224, 199, 203–4, 207–8, 246 230, 270, 277n. 13 contrasted with logic, 184 Meyer, Michael, 102, 279n. 10 eidetic features of, 7, 129, 140, 194, 216–17 Meyers, Gerald E., 124, 280n. 32, 33 etymology of, 13 Michelini, Ann M., 54 explicit/implicit distinction, 14 Middle Ages, 3–5, 13, 17ff., 59ff., 70, 73, as intersubjective, 91, 204, 211, 214 79, 82, 115, 242, 277n. 23–5 and the life-world, 3, 8, 16, 43, 179, 207, milieu de mémoire, 4, 129–30, 200, 220, 271 249–50 and perception, 3, 15, 20, 33, 87–90, Miller, Arthur, 7–8 113, 117, 137–8, 149, 162, 181–3, After the Fall, 122, 146, 148–57 185, 206, 220, 256, 273 and “character,” 148, 156–7, 176, 178, see also Cixous, Portrait of Dora and Pinter, 228, 282n. 10, 11, 13–17 Old Times Danger: Memory!, 148, 155–6 memory/amnesia in film, 163, 170–1, 179, Death of a Salesman, 139, 148–53 228, 235 Incident at Vichy, 152 memory arts see mnemotechnics A Memory of Two Mondays, 148, 154 memory frame, 32, 38, 107, 132–4, 142, The Price, 154–5 145–6, 165, 195, 208, 214, 232, 234, The Ride Down Mt. Morgan, 148, 156–7, 241, 243 282n. 16 components of, 132 Timebends, 148, 155–6 in Wilder, 132–4 Miller, Nicolas Andrew, 256 in Williams, 142, 145–6 mind/body dualism, 14, 32, 89, 124, 181, memory model, 8, 31, 161 192 memory palaces, 18 see also Cartesianism memory play Milton, John, 60 definition, 138 mneme, 13, 47, 89–90, 179ff. remembering narrator in, 7, 9, 25, 28, mnemogenics, 92, 103, 227 76, 80, 138, 140, 143, 157, 160–1, Mnemonic see under Theatre de Complicite 318 Index

Mnemosyne, 2, 4, 13–14, 29–30, 47, 144, neuroscience, 92, 179–80, 256 250, 266, 283n. 5 see also connectionism; Damasio, Antonio; mnemotechnics, 5, 14, 17–18, 20–1, 24, Edelman, Gerald; Rosenfield, Israel; 30, 278n. 29 Sperry, Roger Mnouchkine, 271 Newman, Molly Moore, Wesley Quilters, 81–2 A Reckoning, 172, 175–6 Nichols, Lewis, 140 Morrison, Toni, 10, 152, 286n. 31 Nietzsche, Friedrich, 93, 109, 111, 141, motor memory, 9, 89, 162, 183, 187, 273 280n. 19 Müller, Heiner, 1, 10, 69, 72, 271–4 Nightingale, Benedict, 84, 277n. 14 The Task, 272–3 Nightingale, Florence, 71–2, 162 multiple personalities Nolan, Patrick, 105–6 see identity dissociation disorder Nora, Pierre, 4–5, 48–9, 51, 54–5, 84, 116, Murphy, Gardner, 2, 32–3, 89, 181, 130–2, 194, 229, 246, 249–52, 264, 275n. 1, 276n. 22 272, 274, 286n. 20 Murray, Christopher, 166–7, 154–5 see also lieu de mémoire; milieu de mémoire Myers, Frederic W. H., 123, 125, 127, 129, nostalgia, 28, 36, 117–18, 121, 134–5, 218, 280n. 30 221, 227, 255, 258, 268 mystery plays, 5, 60–1, 73, 80, 277n. 25 Olney, James, 242 Naevius, Gnaeus, 59 O’Neill, Eugene, 6, 103–9, 112, 123, 129, Nagel, Conrad, 127–8 144, 280n. 17, 19 Nagler, A. M., 275n. 11, 277n. 24 The Emperor Jones, 106–7 Nalbantian, Suzanne, 90, 125, 275n. 1 The Great God Brown, 109 narrative, 137ff. Hairy Ape, 107 as distinct from memory, 134, 138, 140, Lazarus Laughed, 109, 120 160, 179 Long Day’s Journey Into Night, 108–9 different styles of, 7, 154, 271 Moon for the Misbegotten, 107–8 in Miller, 147–57 Strange Interlude, 107 in Williams, 140–7 Ong, S. J., Walter, 48, 55, 62, 287n. 54 as self-constructive, 7–8, 18, 45, 91, 138, ontogeny/phylogeny, 6, 91, 104, 246 140, 146–9, 151, 160, 162–3, 203 Freud on, 104 as sociocultural framework, 159–60, 172 in O’Neill, 107 historical, 60, 70, 76–7, 81 recapitulation defined, 91 non-linear, 191, 196, 199–200, 209, 211, see also Haeckel, Ernst 216–17, 226 oral history, 3, 65–6, 82–3, 269, 271, quasi-, 134, 138, 147, 160, 179, 217 287n. 56 remembering narrator, 7, 9, 25, 28, 76, orality, 5, 10, 31, 62, 65–6, 229, 263 80, 138, 140, 143, 157, 160–1, encounter with writing, 18, 49, 55–7 164–5, 179, 191–2, 215, 217, 238, in A. D. Smith, 269, 271 254, 263 Oxenford, John, 43 and trauma, 95, 97, 228ff. Ozick, Cynthia, 231–3, 237 Nazism, 9, 56, 76, 105, 123, 230–40, 262, 268, 272–3, 280n. 28 Paget, Derek, 77, 257–8 Neisser, Ulrich, 8, 137, 160 parapsychology see psychic research Nelson, Katherine, 141, 159–60, 167, 246, Parker, R. B., 142–4, 281n. 6 286n. 18 Parks, Suzan-Lori, 1, 10, 72, 213, 228–9, Nelson, William, 62 246, 250–3, 271, 286n. 20, 28 Neoclassicism, 34 America Play, 253 Neo-Platonism, 17, 20–2, 24, 31 anti-commemoration, 251 Index 319

The Death of the Last Black Man in the of memory, 133, 145, 147, 196–7, 259 Whole Entire World, 252 memory of, 90–1, 100, 133, 197, 259 memory “pieces,” 10, 252 seeing-place, 147 Patrick, Robert see also locus Kennedy’s Children, 159–60, 261, 269, Plato, 2, 4, 6–7, 14, 17–18, 20–4, 31–2, 282n. 21 58, 123, 125, 129, 275n. 4, 276n. 17, Pavlov, Ivan, 33 281n. 41 Peacock, Reginald, 19 Gorgias, 14 Pearsall, Ronald, 280n. 29 Meno, 14 Penance, sacrament of, 107 The Republic, 14, 275n. 2 perdurance, 87, 131, 135, 230, 273 Theaetetus, 14 Pericles, 51 Plotinus, 17 for Pericles see under Shakespeare, William Pope, Deborah, 262, 265, 268, 287n. 47, 51 personality, 89, 112, 125, 147–8, 156–7, Portelli, Alexander, 278n. 27 179, 282n. 12 positivism, 10, 75–8, 116–17, 135, 170, as distinct from character, temperament, 234, 269 147–8 postmodernism, 9, 48, 69–70, 80, 93, 131, Pezdek, Kathy, 172, 282n. 30 147, 152, 163, 180, 187, 191, 213, Pfister, Joel, 106–9 217, 231, 250, 256–7, 269, 271–4 Phrynichus, 49–52, 55, 58–9 post-traumatic stress disorder, 113, 160, 177 The Capture of Miletus, 49–52, 54–5, 59 Potter, Dennis, 9, 180, 222–4 Phoenician Women, 50 Cold Lazarus, 180, 222–4 Piaget, Jean, 6, 89–90, 181 Karaoke, 222 Pillemer, David, 282n. 1, 286n. 18 Singing Detective, 222 Pinter, Harold, 9, 92, 156, 172–3, 194ff., Sufficient Carbohydrate, 222 208, 210–11, 283n. 35, 284n. 20, 24, procedural memory see bodily memory; 285n. 42 motor memory autonomy of memory in, 204–5 Proust, Marcel, 9, 89, 113, 126, 222, 239 and Beckett, 180, 184, 194–5 and Beckett, 185–93, 283n. 8 and Edelman, 202, 206 and Pinter, 199, 207–8, 211 A Kind of Alaska, 205–7 psychic research, 7, 92, 123–5 Landscape, 194–6 psychoanalysis, 6–8, 52, 70, 88, 91–2, 94–5, Night, 194, 198 98, 104, 111, 150, 163–5, 234 Old Times, 180, 194–5, 198 and After the Fall, 153 Remembrance of Things Past, 207–8 and Da, 164 Silence, 194, 196–7 and Dora, 212–14 Pirandello, Luigi, 6, 104, 109–17, 123, 129, and Equus, 164–6 144, 152, 160, 168–70, 206, 225, and I Never Sang for my Father, 164 280n. 17–19 and Reunion in Vienna, 116–23 As You Desire Me, 109, 113–15 and Something Cloudy, Something Clear, Henry IV, 109–13, 115 145–6 Right You Are (If You Think You Are), 109 see also Freud, Sigmund and Sacks, 112–13 psychology and memory Six Characters in Search of an Author, 109 clinical, 3–4, 88, 137, 165 Piscator, Erwin, 6, 67, 78, 139, 261, 274, experimental, 3, 32, 88–9, 105, 135 278n. 36, 287n. 47 rise of modern science, 89, 94 In Spite of Everything!, 74–6, 278n. 37–8 see also Bartlett, Frederic; Ebbinghaus, place Hermann; Freud, Sigmund; Janet, associated with memory, 132–3 Pierre; Jung, Carl holder for memory, 7, 14 Purgatory, 24–5, 275n. 14, 276n. 20, 21 320 Index

Quigley, Austin, 154 psychological, 6, 38, 95–8, 122, 142, Quintillian, 17 173, 279n. 8 repression, 7, 45, 88, 94–5, 98–100, 102–3, race, 1, 2, 103, 106, 155, 218, 261, 266, 105–6, 155, 164–5, 167–8, 171–2, 269, 271 175, 179, 238, 240, 264, 273, 282n. 25 Racine, Jean, 34, 36, 153 Restoration, 34–7, 63–4 Raphael, John M. retrieval, 4, 14, 90, 93, 128, 139, 151, Peter Ibbetson, 7, 92, 123, 125–8 161–2, 168, 172, 183, 190 Rashomon see under Kanin rhapsode, 6, 10, 25, 54, 65, 73, 76, 81, Reagan presidency, 156, 213, 220, 228, 254 83–4, 269 Real Presence see Eucharist Rhys, Jean, 173 recognition, 4, 15–18, 26, 28–9, 42, 100, Ribot, Théodule, 88, 90, 94 111–12, 118, 134, 148, 150–1, 153, Rice Elmer, 127–8, 157, 170, 281n. 36 168–70, 189, 230, 239, 268 For the Defense, 157 defined, 150 On Trial, 127–8, 281n. 36 see also anagnorisis Rich, Frank, 156, 243, 249, 263 recollection, 5, 10, 14–15, 23–5, 29–30, 35, Richards, Graham, 2, 31–2, 92, 94, 104–5, 42, 48–9, 55, 59, 61, 75, 88, 91, 96, 137, 147–8, 257, 275n. 1 98, 102, 107, 112, 116–17, 123–4, Ricoeur, Paul, 279 129, 132, 134, 145, 149–50, 152, 163, Roach, Joseph, 1 165–6, 182–3, 188, 194, 196, 201, Roberts, Spencer, 72–3 203, 205, 207, 209, 212, 220, 230, Rokem, Freddie, 234, 271, 279n. 13 234, 255–6, 259, 269–70 Rolland, Romain, 73 reconstructivist memory, 203 Romanticism, 34 recovered memory, 8, 36, 44, 92–4, 99, Rosen, Carol, 218, 221 157, 172–8, 197, 201, 205, 216, Rosenbergs, Julius and Ethel, 77, 254, 259 282n. 31, 32 see also Freed, Donald see also false memory syndrome Rosenfeld, Alvin H., 220, 230–3, 237, redintegration, 33 278n. 43 Reed, T. J., 66–7 Rosenfield, Israel, 220 Rehm, Rush, 53, 58, 276n. 1 Roth, Michael, 10, 87, 93, 179, 280n. 27 reentry, 9, 125, 130, 181–3, 202, 224 Rubin, David C., 140, 143, 163 see also Edelman, Gerald ruminescence, 95, 135, 194, 214, 217, 255 Reid, Thomas, 32 Reinhardt, Max, 73–4 Sacks, Oliver, 112–13, 168, 180, 187, remenance, 45, 59, 202 205–6, 222, 280n. 21, 284n. 24 reminding, 4, 14, 35, 39, 50, 52, 100, saints’ plays, 5, 18, 61 108, 132, 134–5, 148, 150, 229, Salamis, battle of, 50–5 248, 251 Salloch, Erika, 78–9, 278n. 42 reminiscence, 3–4, 9, 35, 37, 42, 59, 80–1, Salz, Melissa, 261 87, 90, 97–101, 108, 120, 123, 127, Saramago, José, 273–4 134–5, 140–1, 144, 149–50, 155, Sartre, Jean-Paul 188–90, 194–8, 201–3, 210, 227, 229, The Devil and the Good Lord, 70 239, 243, 248, 257, 265–8, 286n. 25 Savran, David, 10, 93, 142–4, 247, 254, Renaissance, 3, 5, 17, 19–27, 30, 40, 60, 262, 286n. 22 62–3, 82, 87, 138, 275n. 13, 276n. 17, scene see under memory scene 278n. 29 Schacter, Daniel, 4, 90, 140, 161, 172, repetition, 2, 5, 48–9, 55, 61, 101, 252 282n. 19, 30 cultural, 75, 131, 213–14 schemata, 135, 137, 154, 182, 191, 258 in Pirandello, 109, 115 see also Bartlett, Frederick Index 321

Schiller, Friedrich, 50, 72 A Midsummer Night’s Dream, 35, 73 Mary Stuart, 64 Othello, 37 The Robbers, 66 Pericles, 5, 13, 22–31, 144, 275n. 15, Wallenstein Trilogy, 5, 66–7 276n. 20, 21 Schooler, Jonathan W., 172, 201 Richard II, 63, 71 Schrauf, Robert, 140, 143, 163 Richard III, 63, 73 Schroeder, Patricia, 141 The Taming of the Shrew, 29, 203 Scott, Charles E., 14, 275n. 5 The Tempest, 22–3 Scott, Clement, 43 Shaw, G. B., 72 Segal, Charles, 16, 55, 275n. 8, 277n. 11 St. Joan, 69–70 self Shaw, Irwin construction, 91, 109, 117, 153, 255 Bury the Dead, 7, 123, 128–9, 281n. 37, “empirical,” 124, 126, 148, 222, 285 38 loss of Shannon, Sandra, 247, 250, 251 see under amnesia; forgetting Shepard, Sam, 1, 172, 174, 176–8, 180, presence, 9, 132, 134–5, 142, 196, 244 217–21, 224 see also identity; narrative Buried Child, 217–18 Sellars, Peter, 47, 50, 56–7, 269, 271–2 consciousness, 218–21 semantic memory, 2, 8, 94, 161, 226 Fool for Love, 217–18 Semon, Richard, 89–90, 94 The Late Henry Moss, 218 Seneca, 37, 59 A Lie of the Mind, 9, 180, 218–21, 224 Sergel, Christopher True West, 177 Black Elk Speaks, 254, 286n. 36 When the World Was Green, 218 sex and memory, 171–8, 211 Sherman, Martin cerebral differences (male/female), 213 Bent, 254 in Pinter, 198–9, 201, 207–8 Sherwood, Robert, 6–7, 104, 117–22, in Williams, 143 280n. 25, 26 see also memory wars Best Years of Our Lives, 117 Shaffer, Peter, 103 Idiot’s Delight, 119 Amadeus, 70 Reunion in Vienna, 117–22, 280n. 25, 26 Equus, 164–5, 282n. 24 There Shall Be No Night, 119 Royal Hunt of the Sun, 71–2 Simon, Alisa, 284n. 35 Shakespeare, Hamnet, 22, 30 Simon, Bennett, 275n. 7 Shakespeare, John, 276n. 21 Simon, Linda, 125, 280n. 33 Shakespeare, Judith, 30 Simon, Neil Shakespeare, William, 1, 5, 13, 18, 19, Brighton Beach Memoirs, Biloxi Blues, 21–31, 34, 50, 63–5, 67, 70–3, 84, Broadway Bound, 157, 161 141, 157, 203, 263, 275n. 15, 276n. 21 Skloot, Robert, 237, 240, 278n. 43, All’s Well That Ends Well, 29, 275n. 15 285n. 11 Antony and Cleopatra, 29 Smelser, Neil J., 171 As You Like It, 22 Smith, Adam, 32 Hamlet, 5, 13, 22–31, 37, 73, 91, 129, Smith, Anna Deavere, 10, 246, 259–60, 144, 164, 217, 272, 275n. 13, 14, 262, 268–71, 287n. 55, 56, 288n. 58 276n. 16, 17 disqualified for Pulitzer, 269, 287n. 55 Henry IV, 6, 63 Fires in the Mirror, 259, 268–71 Henry V, 63–5 history-telling, 269 Henry VI, 63 identity, 269, 271 King Lear, 29, 42 as rhapsode, 269 Love’s Labour’s Lost, 21 Twilight: Los Angeles, 1992, 268–71 Macbeth, 23, 37–9, 65, 263 Snyder, John, 52–3, 57, 277n. 7 322 Index

Sobol, Joshua Thody, Philip, 169–70 Ghetto, 10, 234 Thorne, Avril, 162 Sophocles, 15–16, 37, 52–3, 58, 107 topoi, 15, 30 Oedipus Rex, 15–16, 53 trace see under memory trace Sorabji, Richard, 15, 275n. 5 transference, 88–9, 211 Soviet historical drama, 6, 70, 72–3, trauma, 5, 9, 17, 85, 87, 91, 94–9, 144, 278n. 36 157, 162, 170–2, 177, 180, 189, Sperry, Roger, 179, 220 197–8, 205, 212, 214, 216, 221, 225, Spiderwoman Theater 227–8, 230–1, 237, 240, 242, 250–1, Power Pipes, 253 256–7, 273, 283n. 4 Spinoza, Baruch, 31 battlefield, 94, 127–9, 160, 168, 205 Spiritualism, 89, 92, 104, 123, 127–8, causes, 94, 105 280n. 30 in Mann, 261–8 Stanislavsky, Konstantin, 88 in Pirandello, 110, 113–14 Steiner, George, 228, 236–8, 240, 285n. 9 unintegrated, 228, 237, 264 Stewart, Dugald, 32 and veridicality, 172 Stone, Jennifer, 109, 280n. 19 When We Dead Awaken, 96–9 Stoppard, Tom, 110, 257, 271 Trevis, Di, 207 Storming of the Winter Palace, 73 Trilling, Lionel, 106 stream of consciousness, 124, 127, 148–9, Tulving, Endel, 2, 137, 275n. 1, 286n. 18 191 Tyler, Sharon, 63 Strindberg, August, 6, 45, 66, 91, 94–5, 99–103, 108–10, 126, 279n. 10 Van Druten, John The Burned House, 99–103 I Remember Mama, 139–41 A Dream Play, 45 Vanden Heuvel, Michael, 281n. 36 subjectivity and memory, 8, 9, 24, 36, 83, 88, Vasari, 66 113, 130, 142, 147, 164, 184, 187, 202, veridicality and memory, 3, 8, 10, 18, 69, 204, 207, 209–10, 233, 240, 246, 256 76–7, 78, 92, 94, 114, 140, 142, 159, Sullivan, Garrett, 1, 22, 24, 29, 33, 36, 41, 168–70, 172, 174–5, 184, 205, 216, 275n. 13 227, 229, 235, 255, 257, 261, 270 Sutton, John, 1, 20, 24, 29–31, 58, 276n. 16, see also false memory syndrome; memory 283n. 5 wars; recovered memory Swan Theatre, 63 Vietnam War, 50, 56, 79, 155, 159–60, Szenes, Hannah, 233 234–5, 247–8, 261, 263–5 see also Holocaust Vietnamese War Memorial, 47 Szondi, Peter, 138 Vince, Ronald W., 61 virtual memory, 135, 147, 205, 217 Taplin, Oliver, 53 Vogel, Paula Taylor, C. P. How I Learned to Drive, 17, 161–2, 213 Good, 230, 238–40, 242 Voltaire, 64, 66 Taylor, Diana, 1 Taylor, Tom, 68 Walker, Kara, 252 Teale, Polly Warren, Austin, 138 After Mrs. Rochester, 163 Watt, Stephen, 68 Teatro Olimpico, 63 Webster, John Telford, Kenneth, 16, 275n. 6, 277n. 8 The Duchess of Malfi, 1, 275n. 13 Terence, 68 Weiss, Peter, 75, 262, 274 Theatre de Complicite Discourse/Vietnam, 77 Mnemonic, 9, 91, 222–7, 285n. 42 The Investigation, 77–80 Themistocles, 50–1 Marat/Sade, 70 Index 323

Wellek, René, 138 The Two-Character Play, 143–4 Weinrich, Harald, 40–1, 98, 168, 275n. 3 Vieux Carré, 143 Wernicke, Carl, 33, 220 Wills, W. G., 68 Wesker, Arnold Wilson, August, 10, 229, 246–54 Denial, 172, 174–5 blood memory in, 251 White, Hayden, 62, 66, 70 commemoration, 247–51 White, Nick, 237 Gem of the Ocean, 247, 259–50 Whitehead, A. N., 157, 251 Jitney, 247, 286n. 22 Whiteread, Rachel, 189 Joe Turner’s Come and Gone, 249–51 Wickham, Glynne, 59–61 King Hedley II, 250 Wikander, Matthew, 73–4, 66–7 Ma Rainey’s Black Bottom, 248 Wilder, Thornton, 6–7, 69, 104, 123, 125, music (blues) as memory, 247–9, 252, 276n. 22, 281n. 38 286n. 25 And the Sea Shall Give Up Its Dead, 129 The Piano Lesson, 247–9 influence of Pirandello on, 129 Radio Golf, 250 The Long Christmas Dinner, 130–1 sacred time in, 247 Our Town, 129–36 Two Trains Running, 247 Skin of Our Teeth, 70 Wilson, Langford William of Ockham, 17, 20 Lemon Sky, 160–1 Williams, Tennessee, 7–8, 134, 156–7, 245, Wilson, Robert, 96, 271 281n. 6 “Wingfield maneuver,” 161, 164, 167 autobiography in the plays of, 141–5 Wolfe, George C. Clothes for a Summer Hotel, 143 The Colored Museum, 246, 251–2, 286n. critical reaction to, 140, 142, 145 20, 28 The Glass Menagerie, 140–2 World War I, 10, 68, 74, 77, 94, 109, 112, In the Bar of a Tokyo Hotel, 143 119, 125–7, 168, 241, 255, 257–8 Kingdom of Earth, 143 World War II, 38, 47, 68, 77, 117, 156, psychoanalysis, 146–7 170–1, 228, 235–6, 261 The Red Devil Battery Sign, 143 writing and remembering, 208–21 relationship to his sister Rose, 142, in I Remember Mama, 139–40 281n. 5 in Williams, 141ff. Small Craft Warnings, 143 Something Cloudy, Something Clear, Yates, Frances, 17–21, 23, 31, 275n. 1, 5, 144–7 12, 278n. 29 as Tom, 141 Yerushalmi, Yosef, 10, 229, 254, 257