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(Re)Creation Processes: Milo Rau and the International Institute of Political Murder by Lily Maeve Climenhaga a Thesis Submitted

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(Re)Creation Processes: Milo Rau and the International Institute of Political Murder by Lily Maeve Climenhaga a Thesis Submitted (Re)Creation Processes: Milo Rau and the International Institute of Political Murder by Lily Maeve Climenhaga A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Performance Studies Department of Drama University of Alberta © Lily Maeve Climenhaga, 2021 ii Abstract English: In 2008 Swiss theatre-maker Milo Rau and a group of collaborators founded the production company the International Institute of Political Murder. Since 2008, Rau and company have created a unique and identifiable brand of documentary-inspired political theatre. Early IIPM projects such as Die letzten Tage der Ceausescus (2009) garnered significant attention for their contribution to the genre of reenactment; however, this early success led to the term reenactment serving as an umbrella term used to describe Rau’s work. Pulling from the IIPM’s body of work between 2008 to 2020, (Re)Creation Processes: Milo Rau and the International Institute of Political Murder identifies and dissects the distinctive organisational categories of the company’s oeuvre: reenactment (e.g. Hate Radio, 2011), recollection (e.g. Empire, 2016), and reactment (e.g. Das Kongo Tribunal, 2015). This dissertation offers a broad overview of Rau’s oeuvre, while also exploring sources for the work. It situates the IIPM’s productions within historical and contemporary political performance traditions such as lay and artistic reenactment, documentary theatre, Verbatim theatre, and global artivist performative interventions. Working with a massive collection of critical and artistic sources, including live and recorded performances, this study engages in a process of performance and reception analysis, revealing commonalities and differences between productions and organisational categories. It poses questions about the use of autoethnography within various production forms, the role reenactment techniques play across Rau’s oeuvre, the problematic centrality of the director himself, and ultimately analyses the successes and shortcomings of IIPM productions and political actions. In an appendix, (Re)Creation Processes also takes an in-depth look at Hate Radio, closely examining its performance, the text, the source material, and the reception of one of Rau’s most internationally successful repertoire productions. iii Deutsch: Im Jahr 2008 gründete der Schweizer Theatermacher Milo Rau mit engeren Mitarbeiter*innen das International Institute of Political Murder. Seither haben sie eigene Formen, Dramaturgien und Ästhetiken dokumentarischen politischen Theaters entwickelt. Erste IIPM-Projekte wie Die letzten Tage der Ceausescus (2009) fanden große Beachtung als Reenactments. Dieser frühe Erfolg führte jedoch dazu, dass in der Forschung die Ästhetik des Reenactment als bevorzugten Zugang zu allen weiteren Arbeiten verwendet wurde. „(Re)Creation Processes: Milo Rau and the International Institute of Political Murder“ stützt sich demgegenüber auf eine repräsentative Auswahl an Raus Arbeiten bis heute und stellt hierzu verschiedene innovative Kategorien zum Verständnis vor, neben dem Reenactment (z.B. „Hate Radio“, 2011), die Recollection (z.B. „Empire“, 2016) und das Reactment (z.B. „Das Kongo Tribunal“, 2015). Auf der Basis neu erschlossener Quellen, Kritiken und Materialien aus dem Probenprozess sowie von Aufführungsmitschnitten bietet die Dissertation einen umfassenden Überblick über Raus Produktionen, reflektiert kritisch die verschiedenen theoretischen Reflexionen Raus in direkten wie indirekten Bezügen zu seinem Werk und situiert es vor den Hintergrund historischer und gegenwärtiger Performancetraditionen wie Laien- und künstlerisches Reenactment, Dokumentartheater, britisches Verbatim Theater und Interventionen des Artivismus. Mit einem besonderen Schwerpunkt auf der tiefer gehenden Analyse einer seiner erfolgreichsten Produktionen, „Hate Radio“, geht es in der Arbeit auch um Fragen nach der Funktion der Rau’schen Autoethnografie in den verschiedenen Produktionsformen und nach seiner eigenen Rolle als Regisseurs im Hinblick auf die von ihm verantworteten Produktionsmodi. iv Preface This dissertation is an original work by Lily Maeve Climenhaga. The interviews and email correspondence with Milo Rau received ethics approval from the University of Alberta Research Ethics Board, under the project name, “The Director-Auteur: Milo Rau’s mise-en-scène,” Pro00072531, 2017. Some of this thesis has been published in the theatre blog “An Unopened Can of Tomatoes: Milo Rau’s ‘Das Neue Evangelium,’ or ‘The New Gospel’” (September 11, 2020), “This time without the tourists…” (September 10, 2020), and “‘It’s 9:00 Kigali’ – ‘Hate Radio’ and the Appeal of Experience” (March 2, 2019) on the blog lostdramaturgininternational.wordpress.com. Sections of the introduction are published as part of the introduction of Theater Magazine, 51:2 (2021). An early version of Hate Radio’s production analysis was previously read as part of a Hate Radio panel at the Performance Studies International (PSI) Conference in 2017. The image and description of “Re-Packing My Library: A Collection in Understanding” was featured in the 2019 University of Alberta Library’s Images of Research competition and is published on the University of Alberta’s Education and Research Archive. This dissertation was funded by the Social Sciences and Humanities Council of Canada and the University of Alberta. v Dedication For Joan, The Everywoman In the dark times Will there be singing? Yes, there will be singing. About the dark times. -Bertolt Brecht, “Motto to Svendborg Poems,” 1939 vi Acknowledgements Dissertations are never written alone. They are born from long talks, late-night discussions, and animated disagreements. This dissertation was made possible by the support of the University of Alberta Drama Department, Ludwig-Maximilians-Universität’s department of Theaterwissenschaft, and was funded by the Social Sciences and Humanities Council of Canada (2015-2019), University of Alberta, and Ludwig- Maximilians-Universität. I would like to personally thank my supervisors, Dr. Piet Defraeye (UofA) and Dr. Andreas Englhart (LMU), for the support, guidance, and counsel provided throughout this long journey; my supervisory committee, Dr. Andreas Stuhlmann and Dr. Kim Misfeldt, for their invaluable feedback and support throughout this arduous process; and my externals Dr. Antje Budde and Dr. Melanie Dreyer-Lude for participating in my defense, not being afraid to ask challenging questions, and help with translations. I also want to extend my heartfelt thanks to the U of A drama department’s amazing administrative team – Julie Brown, Connie Golden, Helen Baggaley, and Liz Ludwig – whose work made not only this dissertation possible, but also the Masters and Bachelors degrees of myself and countless others. I would like to thank Dr. Stefano Muneroni, Prof. David Barnet, and Prof. Mike Kennard for instilling an early love and understanding of theatre, as well as Dr. Andrew Gow and Dr. Jeremy Caradonna for teaching me how to write, research, and critically look at the world, I still carry these lessons with me. On a personal note, I would like to thank my friends and family, particularly my mother and father, Luanne and David, for their endless moral (and financial) support and for reading and copy-editing early (and terrible) drafts of chapters, articles, and presentations. To my aunt Joan, who read every blog, every lecture, every conference presentation, and every article I wrote, who – more than anyone – took an active interest in my work: it is bittersweet to finish without you here and I miss you very much. To Grandma Vi and the Mireau family for their constant support of my pursuits. To my drama family (Lebogang, Heun Jung, Xavia, Tonya, Angela, Thea), my karate family (particularly Manuel Desa and Janet Vranas), and all my people in Munich, Edmonton, and beyond (Caroline, May-Lee, Nelly, Sabine, Tornike, Oli, Anna, Kara, Karola, Andreas, Denise, Gerda, Felix, Andi, Heika), thank you all for your overwhelming support and feigned interest in Milo Rau. A special thanks to my dear friends John and Claire for all their help writing and editing chapters in those final stages. Last, but certainly not least, I want to extend my most sincere and heartfelt thanks to all past and present members and employees of the IIPM and NTGent – Jens Dietrich, Eva-Maria Bertschy, Stefan Bläske, Rolf Bossart, Mirjam Knapp, Yven Augustin, Carmen Hornbostel, Mascha Euchner- Martinez, Kaatje De Geest, Tom De Clercq, Nele Buyst, and so many others – for their help setting up meetings, acquiring scripts, photographs, reviews, tickets, and videos, as well as for their support, interest, and kindness. I am eternally grateful for all your support, kindness, and acceptance over the past five years. Last, but certainly not least, I would like to thank Milo Rau. Stumbling across your work (and into a rehearsal) was the best thing that happened to me. I cannot imagine this project without your critical interventions, arguments, and support. I cannot thank you enough for the time you have given me, the interest you have shown in this dissertation (and all its connected projects), and the kindness you have always shown me, no matter how odd, awkward, and off-putting I have, at times, been. On behalf of the Unofficial International Institute of Rau Studies, thank you. To everyone not explicitly mentioned here whose support extended my suffering in this PhD: You know who you and you know what you did. vii Table of Contents Abstract
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