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History in the Age of Fracture

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History in the Age of Fracture Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 The Politics of Time in Recent English History Plays Jay M. Gipson-King Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVSERITY COLLEGE OF VISUAL ARTS, THEATRE, AND DANCE HISTORY IN THE AGE OF FRACTURE: THE POLITICS OF TIME IN RECENT ENGLISH HISTORY PLAYS By JAY M. GIPSON-KING A Dissertation submitted to the School of Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester: 2010 The members of the committee approve the dissertation of Jay M. Gipson-King defended on October 27, 2010. Mary Karen Dahl Professor Directing Dissertation James O‘Rourke University Representative Natalya Baldyga Committee Member The Graduate School has verified and approved the above-named committee members. ii ACKNOWLEDGEMENTS I would like to express my great appreciation to the vast number of people who made this dissertation possible. First and foremost, I would like to thank my committee chair, Mary Karen Dahl, for her guidance throughout this project and my graduate career; it is due to her that I developed my love of contemporary British theatre in the first place. I also thank committee member Natalya Baldyga, for sharing her love of the Futurists; University Representative James O‘Rourke, for his insightful reading of the manuscript and his outside perspective; former committee member Caroline Joan S. (―Kay‖) Picart, whose early feedback helped shape the structure the prospectus; and former committee member Amit Rai, who introduced me to affect theory. I must also acknowledge the invaluable contributions of Carrie Sandahl, who not only advised my master‘s thesis, which served as the springboard for this project, but who gave me the germ of the idea that ―time is political‖ during the defense of my comprehensive exams. Much of my original research was conducted during a month-long trip to England in the summer of 2006, during which time I visited the archives of the Royal National Theatre, the Victoria & Albert Museum at Blythe House, and the Shakespeare Centre Library (home of the archives of the Royal Shakespeare Company). This excursion was made possible by the Julia Mae Bryant Grant administered by the School of Theatre at FSU. I whole-heartedly thank Chris Corner of The Wrestling School (TWS), who graciously allowed me access to the TWS archives located in his home office in London, as well as David Ian Rabey, whose ongoing correspond- ence has been both a delight and an invaluable resource. I also thank Dr. Rabey for allowing me to peruse an advanced copy of his book, Howard Barker: Ecstasy and Death. On a more personal note, I would like to thank Emilie Woodbridge and Jennifer Parker for responding to the earliest stages of my prospectus as part of our dissertation reading group; Charles Poole and Stuart Baker, for stimulating conversations about the nature of time; and my Facebook support group, especially Jane Duncan and Elizabeth B. Harbaugh, for unending moral support. Moreover, this dissertation would not have been possible without the loving support of iii my parents, who have always encouraged me, as well as my parents-in-law, who provided a rent- free home in which to write the first full draft of this manuscript. Most importantly, I would like to thank my wife, Rebeka, for her infinite patience, love, and financial support over the four-and- a-half years it took to complete this project. iv TABLE OF CONTENTS List of Figures ........................................................................................................................ vii Abstract .................................................................................................................................. viii Preface.................................................................................................................................... x 1. INTRODUCTION: THE POLITICS OF TIME ................................................................ 1 What Is Time? ................................................................................................................... 5 Does Time Have a Politics? .............................................................................................. 8 Time and History ............................................................................................................... 26 A Brief History of Time (on Stage) ................................................................................... 41 Methodology and Chapter Breakdown .............................................................................. 45 2. CATASTROPHIC TIME................................................................................................... 56 The Castle: Rifts in Narrative Time .................................................................................. 60 The Bite of the Night: The Politics of Audience Time ...................................................... 73 Gertrude—The Cry: Punctures in Dramatic Time ............................................................ 82 Repoliticizing Myth ........................................................................................................... 88 3. TIME AND THE STATE .................................................................................................. 98 The Romans in Britain: The Anachronism Heard Round the World ................................ 101 Hess Is Dead: The Revenge of History ............................................................................. 112 4. UNCERTAIN TIME .......................................................................................................... 133 Arcadia: The Behavior of Bodies in Heat ......................................................................... 135 Copenhagen: Circling Around the Received Rationalizations .......................................... 150 5. FANTASTIC TIME ........................................................................................................... 183 Traps and Blue Heart: Impossible Objects ....................................................................... 185 Mad Forest: Fractured Experience .................................................................................... 192 This Is a Chair: English Culture in the Age of Fracture ................................................... 203 6. RADICAL DEPARTURES: AFFECTIVE TIME............................................................. 209 Blasted: Blowing Time Apart ............................................................................................ 214 ―Psychotic‖ Time in 4.48 Psychosis .................................................................................. 221 7. CONCLUSION: THE AGE OF FRACTURE ................................................................... 242 v REFERENCES ...................................................................................................................... 248 Plays & Performances ....................................................................................................... 248 Reviews ............................................................................................................................. 249 Theory, History, and Criticism .......................................................................................... 258 BIOGRAPHICAL SKETCH ................................................................................................. 274 vi LIST OF FIGURES 1. Repetition and Revision. ................................................................................................... 118 2. Old Woman or Young Lady? ............................................................................................ 154 3. Magritte‘s The Treachery of Images, 1929 ........................................................................ 205 vii ABSTRACT This dissertation seeks to create a vocabulary and a theoretical framework with which to examine the political implications of nonlinear, non-realistic depictions of time in recent English history plays. I explore plays by Howard Barker, Howard Brenton, Caryl Churchill, Michael Frayn, Sarah Kane, and Tom Stoppard using close readings of texts in combination with research into the plays‘ original productions and their immediate social and political context. I look specifically at how the plays‘ temporal shapes reflect upon history and historiographic methods, drawing from the historiographic theories of Carl Becker, Michel Foucault, Michel de Certeau, and Michal Kobialka. I use my own phenomenology of time for the stage to explore my over- riding question, what are the political implications of non-traditional depictions of time on stage? Chapter One discusses the intersection of time, history, and politics. I suggest that theatrical time can be examined from three different perspectives: audience time, which is experienced individually by spectators in the house; dramatic time, which is expressed by the plot or dramatic action; and narrative time, which is lived by the characters in the fictional world of the play. Together, these three types of time constitute a play‘s temporal shape, which impacts meaning by phenomenally orienting the audience‘s perception of the work. Using Michel Foucault‘s concept of the disciplines and the tenets of second wave feminist criticism, I define politics as operations of
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