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Documentary Theatre, the Avant-Garde, and the Politics of Form

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“THE DESTINY OF WORDS”: DOCUMENTARY THEATRE, THE AVANT-GARDE, AND THE POLITICS OF FORM TIMOTHY YOUKER Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Timothy Earl Youker All rights reserved ABSTRACT “The Destiny of Words”: Documentary Theatre, the Avant-Garde, and the Politics of Form Timothy Youker This dissertation reads examples of early and contemporary documentary theatre in order to show that, while documentary theatre is often presumed to be an essentially realist practice, its history, methods, and conceptual underpinnings are closely tied to the historical and contemporary avant-garde theatre. The dissertation begins by examining the works of the Viennese satirist and performer Karl Kraus and the German stage director Erwin Piscator in the 1920s. The second half moves on to contemporary artists Handspring Puppet Company, Ping Chong, and Charles L. Mee. Ultimately, in illustrating the documentary theatre’s close relationship with avant-gardism, this dissertation supports a broadened perspective on what documentary theatre can be and do and reframes discussion of the practice’s political efficacy by focusing on how documentaries enact ideological critiques through form and seek to reeducate the senses of audiences through pedagogies of reception. TABLE OF CONTENTS LIST OF ILLUSTRATIONS iii INTRODUCTION: Documents, Documentaries, and the Avant-Garde 1 Prologue: Some History 2 Some Definitions: Document—Documentary—Avant-Garde 7 What’s Avant-Garde about Documentary Theatre? 18 The Shape of What Follows 23 CHAPTER ONE: Karl Kraus, Acoustic Quotation, and the Theatre of Anti-Journalism 28 “The Root Lies at the Surface”: Kraus’s Critique of the Press 33 The Cry and the Critique: Documents, Bodies, and Linguistic Pathology 42 Speaking Against Spectacle: Theatre and Elocution 55 “Parts That Let Him Taste Blood”: Quotation as Digestion 63 “I Am an Accessory to These Noises”: Memory and Responsibility 68 CHAPTER TWO: The Dialectics of the Documentary: Rethinking Erwin Piscator 75 The “New Objectivity” and the Documentary Actor 81 Object, Construct, Reportage 87 Proletarian Revolution and Expressionist Revolt 92 “Liebknecht Lives!”: The Stage as Street as Stage 95 Rasputin: The Document as Chorus 108 Piscator, Kraus, and the Documentary Theatre Tradition 116 i CHAPTER THREE: Documentary and the National Body: Grotesque Dramaturgies 123 and Scenes of Encounter “To Make Sense of the Memory Rather than Be the Memory” 128 Puppets as Witnesses: Fragile Bodies and Affective Geometries 136 The Documentary as Bakhtinian Body 141 Individuality and Exemplarity 148 Ping Chong’s Scenarios of Discovery 152 “Will a Man Ever Learn from Only Looking?” 159 “Whose History Is This, Anyway?” 165 The Avant-Garde and Memory Culture: Formal Estrangement as Disinterment 171 CHAPTER FOUR: History without Plot, Biography without Character: Charles L. Mee 177 “One Had Entered a Logic Trap”: The War to End War and the Ends of History 186 Emancipated Learning and the Theatre of History 194 “Granite and Rainbow”: Character from the Moderns to the Postmoderns 199 Thefts and Gifts: The (Re)Making Project and the Lives of the Artists 206 “as a kind person would tend to a needy person / in any village in the world” 211 Obstacles and Lessons 221 CONCLUSION 225 ILLUSTRATIONS 228 BIBILIOGRAPHY 242 ii LIST OF ILLUSTRATIONS Figure 1. Karl Kraus, a page from the rough draft of Act V, Scene 49 of The Last Days of Mankind. 228. Figure 2. 1916, an advertisement for a Kraus performance. The advertisement notes that all proceeds will be donated to a charity for blinded soldiers. 228. Figure 3. Michael Lazarus, 1933, Kraus performing in Vienna. 229. Figure 4. Alfred Hagel, 1932, “Karl Kraus vorlesend.” 229. Figure 5. The Baseler Nachrichten, 1921, advertisement for battlefield tours by car, which Kraus used as the basis for “Tourist Trips to Hell.” 229. Figure 6. Tim Gidal, 1932, photographs of Kraus performing in Munich. 230. Figure 7. The Berliner Morgenpost, November 11, 1927, drawing of a scene from Rasputin, including a depiction of a documentary newsreel projected on the side of Traugott Müller’s hemispherical set. 231. Figure 8. Karl Arnold, 1928, “Die Piscatorbühne,” a cartoon from the humor magazine Simplicissimus depicting (from left) Tilla Durieux, Max Pallenberg, Paul Wegener, and Piscator. 231. Figure 9. Erwin Piscator, 1926, sketch of John Heartfield's set for In Spite of Everything!. 232. Figure 10. Erwin Piscator, 1926, photomontage of images from In Spite of Everything!. including stills from documentary projections, an image of the audience, the head of the dying Liebknecht, and in the background, the interior of the Grösses Schauspielhaus. 232. Figure 11. Unknown photographer,1927, a still photograph of Paul Wegener on the set of Rasputin. 233. Figure 12. Erwin Piscator, 1927, two photographs from the production of Rasputin. The lower image shows the onstage action, with a glimpse of the scrolling “calendar” off to the far right. The top image shows the footage of the Romanovs’ execution that was projected onto the set during the same scene. 233. Figure 13. Ruphin Coudyzer, 1997, photo showing Ubu feeding documents to Niles the crocodile. 234. Figure 14. Tomasso Lepera, 1997, photo showing (from left) Busi Zukofa as Ma Ubu, Adrian Kohler and Basil Jones operating the shop owner puppet, and Dawid Minaar as Pa Ubu. 234. Figure 15. Ruphin Coudyze, 1997, photo of Jones and Zukofa operating a witness puppet. 235. Figure 16. William Kentridge, 1996, a projection used in Ubu and the Truth Commission. 235. iii Figure 17. Bob van Dantzig, 1994, photo of the Javanese court dance in Deshima, with Michael Matthews as the Narrator in the background. 236. Figure 18. Thomas Hase, unknown year, photo of the Deshima cast as internees, standing in front of a montage of actual internee headshots. 236. Figure 19. Bob van Dantzig, 1994, photo of participants in Undesirable Elements: Twin Cities at the University of Minnesota. 237. Figure 20. Glenn Halvorson, 1995, photo of Aleta Hayes as Mrs. Chin in Chinoiserie at the Walker Arts Center in St. Paul, MN, with Shi-Zheng Chen in the background and a projection of Vincent Chin as an infant superimposed over the moon. 237. Figure 21. Michael Brosilov, 2003, photo of Kelly Maurer as Bob's Mom in bobrauschenbergamerica. 238. Figure 22. Neil Patel, 2007, promotional photo showing the cast of the original SITI Company production of Hotel Cassiopeia. 238. Figure 23. James Castle, unknown date, drawing of the Morton salt girl, soot and spit on paper. 239. Figure 24. James Castle, unknown date, drawing of a farm, soot and spit on paper. 239. Figure 25. James Castle, unknown date, dolls made from waste paper, cardboard, and string. 240. Figure 26. James Castle, unknown date, drawing on a discarded court document. 240. Figure 27. Jean-Louis Fernandez, 2007, photo of a scene from Delbono's Urlo. 241. Figure 28. Jean-Louis Fernandez, 2007, photo of a scene from Delbono's Urlo. 241. iv 1 Introduction Documents, Documentaries, and the Avant-Garde This dissertation argues that the modern practice called documentary theatre emerged from the aspirations and practices of the historical avant-garde, and that the diverse instances of contemporary documentary theatre remain linked by a rich transnational tradition that is continually in conversation (and sometimes antagonism) with historical and contemporary avant- garde movements. Though it is often presumed to be an essentially realist practice, documentary theatre is not only a product of the same sociocultural influences that produced the historical avant-garde, but also, fundamentally, an instantiation of core avant-garde attitudes about art. In its treatment of its documentary source materials, documentary theatre shows itself to be part of the same continuum of avant-garde practices as collage, montage, and assemblage. In its attempts to reeducate the senses and sensibilities of its audiences, documentary theatre, past and present, shows itself as a product of the same ethos that gave rise to the Expressionists’ fantasies of social renewal, the Berlin Dadas’ political pranks and photomontages, and the Bauhaus’s project of redesigning society by redesigning the built spaces in which people lived. Like the works of these movements, documentary theatre draws on newfound formal possibilities to model methods for reconstructing a fragmented world and renegotiating new ways of connecting people and information. While this project has components to it that could be thought of as influence studies, its main goal is not merely to conduct a genealogical or taxonomic exercise. Through establishing the documentary theatre’s avant-garde origins and its continued connection, however fraught and ambivalent, to avant-garde art practice, I am also creating space for a more capacious understanding of what documentary theatre can be and do. While acknowledging the importance of politics and the political in motivating documentary theatre practices, this study decenters 2 politics, at least in the narrow sense of practical agitation and intervention, by focusing on a more broadly understood politics and ethics of form that governs approaches to composition, performance, and reception. Prologue: Some History The fantasy that the real can be reliably documented and that the resulting documentation can be objectively interpreted by trained professionals is a fundamentally modern one. It is also one that artists were (and often still are) slow to embrace and quick to question. Historical drama, up until well into the 19th Century, was usually most concerned with communicating the essential theme or lesson that a particular story from the past could be made to illustrate, regardless of the particulars that were recorded in available archives. Among the more notable arguments for this approach was Friedrich Schiller’s 1798 prologue to Wallenstein, a dramatic trilogy that he wrote after several years of teaching history at the University of Jena.
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