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Magical Realism in Australian Theatre

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SEEING IN UNORDINARY WAYS: MAGICAL REALISM IN AUSTRALIAN THEATRE RICCI-JANE EVANGELINE ADAMS Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy November 2008 School of Culture and Communication Faculty of Arts The University of Melbourne Produced on archival quality paper ABSTRACT Drawing on examples from the Australian context, this thesis proposes that the artistic mode of magical realism can be validly applied to the form of theatre. It is comprised of creative work (50%) in the form of two full-length playscripts and a dissertation (50%). The latter elucidates and contextualises the creative work and the theoretical implications of magical realism in theatre through an analysis of selected plays by three contemporary Australian writers, Ben Ellis, Lally Katz and Kit Lazaroo. Magical realism is ‘writing that works both within and against the aesthetics of realism’ (Chamberlain 1986:17). This thesis argues that the anti-realist use of space and time, subject and object, language and character in magical realism is heightened and actualised through the form of theatre, which both literalises and subverts these elements. The potential of theatre to exploit magical realism is elaborated through both the six plays analysed and the creative work presented. This thesis draws on the theories of Wendy Faris, Anne Hegerfeldt, Richard Schechner and Helen Gilbert, amongst others, to articulate the new form of magical realist theatre. The two play scripts are my response to the idea of an Australian magical realist theatre, including research into Ellis, Katz and Lazaroo. These scripts are embedded within the thesis, and intended to be read in conjunction with the dissertation as part of the critical application of magical realism to theatre, while also demonstrating research through practice. The plays of Ellis, Katz and Lazaroo engage with the cultural mediation of binaries, self and other, margin and centre, life and death, western and non-western, pragmatic and spiritual, particularly with relation to notions of Australian nationhood and identity. They offer a critical response, which is apolitical and utopian to the cultural, political and social climate in Australia. These works can be characterised as magical realist theatre. The thesis demonstrates that the application of magical realism to theatre lends formidability to the presentation of the political debate on decolonisation, which is at the heart of the texts under consideration. i DECLARATION This is to certify that: 1. the thesis comprises only my original work towards the PhD except where indicated in the Preface. 2. due acknowledgement has been made in the text to all other material used. 3. the thesis is less than 100,000 words in length, exclusive of tables, maps, bibliographies and appendices. _____________________________ Ricci-Jane Evangeline Adams ii ACKNOWLEDGMENTS I owe a debt of gratitude to my supervisor Associate Professor Angela O’Brien, who has been unwavering in her support of me throughout my years under her supervision. Her faith in my ability to proceed no matter the obstacles has been a guiding light. Many thanks also to Dr. Alison Richards who has been a font of knowledge and wisdom. To the Sophere Theatre crew, for bringing about the staging of the first production of my creative work. To Stephen Nicolazzo and Little Ones Theatre for producing my work with such enthusiasm, and for our ongoing creative partnership. To Dr Denise Varney for her invaluable feedback. Thanks to Ben Ellis, Lally Katz and Kit Lazaroo, for their time and most of all their talent, which has been the impetus and inspiration from the beginning. And to all those who have championed my own creative practice through time, awards, financial support and invaluable dramaturgical feedback. Thanks to the School of Culture and Communication (formerly Creative Arts) for ongoing practical support. I am deeply grateful to the staff and my fellow postgraduates who have saved me from isolation, and offered support and friendship during my PhD candidature. In particular, I would like to thank Eddie Paterson, Alyson Campbell, Ben Goldsworthy, Alina Hoyne and Anja Kanngeiser who have enriched and enlivened my postgraduate life. Unending thanks and love to my family, my safe harbour, especially Angelique Adams, for her tireless patience and grace. To Elissa Wilson for being the very best of friends. My love and gratitude to Finn Robertson, who has provided me with the focus, discipline and drive to see this thesis through to completion. This is for you my little one. This thesis could not have been written without the financial support provided by an Australian Postgraduate Award, which I gratefully acknowledge. I also thank the Arts Faculty for the provision of a TRIPS award (Travel for Research in Postgraduate Study) in 2004. I acknowledge the voluntary editorial assistance of Eddie Paterson, Steven Conte and Elissa Wilson. iii TABLE OF CONTENTS INTRODUCTION: SEEING IN UNORDINARY WAYS............................................ 1 Resistance to Realism ..................................................................................................... 2 The Emergence of the Form of Magical Realist Theatre................................................ 6 Theory/Practice/Research Nexus .................................................................................. 13 The Writers and Plays................................................................................................... 16 The Contemporary Australian Theatre Context............................................................ 26 Chapter Outline............................................................................................................. 28 CHAPTER ONE. MAGICAL REALISM AND THEATRE...................................... 30 Part One: Magical Realism ............................................................................................... 30 Part Two: Theatre ............................................................................................................. 46 CHAPTER TWO. DAVID IRELAND.......................................................................... 55 History........................................................................................................................... 61 Unravelling Time .......................................................................................................... 64 Space ............................................................................................................................. 66 Identity .......................................................................................................................... 67 Conclusion .................................................................................................................... 69 CHAPTER THREE. THE JOY BEFORE THINKING ............................................. 72 CHAPTER FOUR. THE FIRST ELEMENT: THE CONCRETE AND THE ABSTRACT................................................................................................................... 128 The Concrete and the Abstract.................................................................................... 129 The Ordinary Strange and the Strange Ordinary ........................................................ 133 The Liminal................................................................................................................. 140 CHAPTER FIVE. THE SECOND ELEMENT: SUBVERSION OF SPACE, TIME AND HISTORY ............................................................................................................ 159 Space in Theme and Form .......................................................................................... 159 Time ............................................................................................................................ 167 History as Subversion of Time and Space .................................................................. 170 CHAPTER SIX. A SLOW AND STEADY DARKENING TOWARDS LIGHT... 179 CHAPTER SEVEN. THE THIRD ELEMENT: THE META-THEATRICAL AND THE ENACTMENT OF LANGUAGE ...................................................................... 237 Mise en scéne .............................................................................................................. 237 Visualisation of Language .......................................................................................... 243 Irony as Meta-Theatrical Device................................................................................. 254 CHAPTER EIGHT. THE FOURTH ELEMENT: REINSCRIPTION OF THE MARGINAL.................................................................................................................. 261 Notions of Belonging and Exile in Australia.............................................................. 262 Metamorphosis and Madness...................................................................................... 269 Faith as Transformation .............................................................................................. 275 CONCLUSION: ............................................................................................................ 280 BIBLIOGRAPHY......................................................................................................... 287 iv INTRODUCTION: SEEING IN UNORDINARY WAYS Magical realism is characterized by its visualizing capacity, that is, by its capacity to create (magical) meaning
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