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Proquest Dissertations Getting in the Car to Weirdsville: Taking a Trip with Ronnie Burkett Theatre of Marionettes By Janne Cleveland, B.A (Hon), M.A. A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy Cultural Mediations Carleton University Ottawa, Canada August 1,2008 © Copyright 2008, Janne Cleveland Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-43889-3 Our file Notre reference ISBN: 978-0-494-43889-3 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation. reproduced without the author's permission. In compliance with the Canadian Conformement a la loi canadienne Privacy Act some supporting sur la protection de la vie privee, forms may have been removed quelques formulaires secondaires from this thesis. ont ete enleves de cette these. While these forms may be included Bien que ces formulaires in the document page count, aient inclus dans la pagination, their removal does not represent il n'y aura aucun contenu manquant. any loss of content from the thesis. Canada Abstract: Title: Getting in the Car to Weirdsville: Taking a Trip with Ronnie Burkett Theatre of Marionettes Author: Janne Cleveland Degree: PhD Year: 2008 Institution: Carleton University Supervisor: Jodie Medd This project takes as its focus the work of Canadian theatre artist Ronnie Burkett, which continues to delight and disturb mainstream audiences nationally and internationally. There are a number of factors that set the work of Ronnie Burkett Theatre of Marionettes apart from that of other contemporary practitioners of the craft: it deviates from European-based traditions of puppetry by delivering multi-layered, text-driven productions; it presents narratives that are specifically for adult audiences-children under the age of fourteen are refused admission; and of particular interest to this thesis is that the works present a sustained critique of the cultural and moral values that underlie the contested relations of power through which subjectivity and identity are constituted. As puppetry, Burkett's theatre practice emerges from a performance tradition that easily lends itself to questioning the power dynamics of dominant narratives and ideologies of social interaction precisely because it is typically undervalued among the arts in contemporary Western culture, and for this reason has greater license to present alternative interpretations of the psychosocial relations upon which subjectivity is dependent. I employ key Freudian and post-Freudian concepts of the abject, mourning and melancholia, the fetish, and the uncanny as well as some of the most ii well-established and well-recognized aesthetics and philosophies of modern drama, including Brecht's alienation-effect, Artaud's Theatre of Cruelty, Expressionism, Symbolism, and Cabaret through which to analyze four of Burkett's mature works. What makes his work a particularly fertile object of study is that the anxiously fraught terrains of trauma and loss explored in the plays under discussion employ the medium of the puppet as a means of considering various aspects of the difficult negotiations of human relations and subject constitution. iii For Mary Marsh (1929-2005) and Holly Griffith (1952-2007) They never stopped believing. iv Acknowledgements I am completely indebted to my supervisor, Professor Jodie Medd, whose guidance, support and careful reading insured that this project got done. My committee members Professor Leanne Groeneveld and Professor Larry McDonald provided insight and clarity when it was most needed. Special thanks go to Professor Rhoda Zuk who started me on this road when neither of us knew where it would lead. Without the support of colleagues and friends like Chris Eaket, Terry Odin, Esther Post, the Saturday writing group, Donna Williams, Fataneh Farahani, Ruramisai Charumbira, and Rosemarie Hoey I might not have made it to the finish line. Special thanks go to the staff of the English Department at Carleton, Karen MacKinnon, Lori Dearman, and Judy Katz, without whose humour, knowledge of administration, and kindness this would have been a much less enjoyable process. My thanks also go to Morag Carnie, Martin Morrow, Terri Gillis, Iris Turcott, Dianne Goodman and Cathy Nosaty for their invaluable contributions to this project. Claire Chouinard, of John Lambert and Associates Inc., the agent representing Ronnie Burkett Theatre of Marionettes deserves much thanks for her help acquiring images. There are no words of thanks that are enough to express the depth of gratitude to my partner Lynn Cox who kept me fed and loved, especially in the dark times. Of course, my deepest thanks go to Ronnie Burkett, whose patience with my endless questions and last minute requests goes well beyond what should be expected of mere mortals. v Table of Contents Abstract ii Acknowledgments v Chronology vii Illustrations ix Introduction 1 Chapter One Comedy, Community, and the Art of Alienation in Tinka's New Dress 25 Recovering History 27 Making Community 30 'Alienating' the Audience 47 Send in the Clowns 51 Not the end, but another beginning 65 Chapter Two Walking with the 'Other' Down a Street of Blood 68 In the Beginning 69 Panic at the end of the Century 71 Family Dynamics 75 Negotiating Abjection in the Family 80 Cruel Puppetry 92 A Crisis of Faith 99 Subversive Laughter 104 vi World Without End, Amen 109 Chapter Three Meeting Uncanny Strangers in Happy 113 Staging Mourning 116 Enter the Uncanny: The Presence of (Lost) Objects 125 Memory, Mourning, and Melancholia ... 131 Bodily Presence 142 Remembering the Lost (Fetish) Object 146 Revisiting Community 153 Driving Toward Hope 155 Moving On 157 Chapter Four Gazing on Beauty in Provenance 162 A Plea for Art 167 Meeting the Past in the Present 169 A 'Crisis of Masculinity' 175 The 'Feminine' Ideal in Art 179 Obsession and Repression 184 Symbolic Transformations 188 Civilizing 'Beauty' 196 Return of the Repressed: A Contemporary 'Crisis' of Masculinity... 197 The Contemporary 'Other' 202 Looking Back 208 Conclusion 213 vii Appendix 220 Works Cited 223 viii Illustrations Figure 1 - Carousel from Tinka's New Dress 29 Figure 2 - Tinka and the Dress 35 Figure 3 - Franz & Schnitzel 47 Figure 4 - Morag 57 Figure 5 - Tibby and Edna 74 Figure 6-Eden and 'dream' baby 78 Figure 7 - Esme Massengill 97 Figure 8 - Antoine Marionette 117 Figure 9-Happy „ 142 Figure 10 - Leda, Tender, and Pity 164 Figure 11-HerschelandPity 168 Figure 12 -Ronnie in Leda headrig 188 Figure 13 - Pity in the beaver costume 197 Figure 14-Head casts from Billy Twinkle 219 All photographs courtesy of Ronnie Burkett Theatre of Marionettes IX Chronology June 10,1957 Ronnie Burkett is born in Lethbridge, Alberta and adopted by Ray and Eileen Burkett of Medicine Hat, Alberta 1968 appears in The Three Bears dir. Eleanor Townsend at the Medicine Hat Public Library and the Medicine Hat Auxiliary Hospital 1973 appears in Cinderella dir. Eleanor Townsend at the Medicine Hat Public Library 1974 performs and directs puppet play, The Patchwork Girl ofOz, with fellow-puppeteer Danny Hall at the Medicine Hat Public Library 1974 performs An Evening of Us with Jerry Thompson at Medicine Hat High School 1974 performs puppet plays, The Fisherman and His Wife; Little Red Riding Hood; Rapunzel, at the Medicine Hat Public Library 1974 appears in musical A Fair Price dir. John Komanchuk at Medicine Hat College Theatre 1975 appears in ensemble performance of Here We Are; The Store; This Property is Condemned dir. Sara Stanley at Medicine Hat College Theatre 1975 designs sets and costumes for The Miracle Worker dir. Sara Stanley 1975 directs Early Frost at Medicine Hat High School x 1975 appears in The Real Inspector Hound dir. Sara Stanley at Medicine Hat College Theatre 1975 performs in puppet play The Threadbare Mayor dir. Sara Stanley at Medicine Hat College Theatre 1975 appears in Treasure Island dir. Sara Stanley at Medicine Hat College Theatre 1976 directs one-act musical, The Diary of Adam and Eve at Medicine Hat College Theatre 1976 appears in Box and Cox dir. Sara Stanley with Lunchbox Theatre at Firehall Theatre, Medicine Hat, Alberta 1976 attends Moscow International Puppet Congress, where he meets puppeteer Bil Baird 1976 auditions for Baird on his 19th birthday, is hired, and
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