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Theatrical Practices of Resistance to Spacio-Cide in Palestine, 2011-12

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Theatrical Practices of Resistance to Spacio-Cide in Palestine, 2011-12 THEATRICAL PRACTICES OF RESISTANCE TO SPACIO-CIDE IN PALESTINE, 2011-12 A thesis submitted to The University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities. 2014 ELIN NICHOLSON SCHOOL OF ARTS, LANGUAGES AND CULTURES Table of Contents List of Figures .................................................................................................. 4 Abstract .......................................................................................................... 5 Declaration ..................................................................................................... 6 Copyright Statement ....................................................................................... 7 Acknowledgments ........................................................................................... 8 The Author ...................................................................................................... 9 Chapter One: Introduction – Resistance and Space in Palestinian Theatre Practices ....................................................................................................... 10 Rationale ............................................................................................................. 10 Context ............................................................................................................... 13 Theatre as Resistance within a Conflict Setting ..................................................... 20 A Brief History of Palestinian Theatre as Non-Violent Resistance........................... 24 Methodology ....................................................................................................... 35 Chapter Outlines .................................................................................................. 42 Chapter 2: Theories of Space and Theatrical Practices in Palestine ................. 45 Introduction ........................................................................................................ 45 The Theory of ‘Spacio-cide’ in relation to Palestinian Space .................................. 48 Occupied Theatre Space in Palestine .................................................................... 66 Conclusion ........................................................................................................... 82 Chapter 3: International Involvement in Palestinian Theatre Practices ........... 84 Introduction ........................................................................................................ 84 Beit Yasmin (2011): A Palestinian Theatrical Critique of the Neoliberal Humanitarian Regime ................................................................................................................ 89 (En)Gendering Practices: The Female Focus ........................................................ 102 The Problems with Joint Partnership Initiatives: Passages of Martin Luther King, Jnr. And Al-Karitha ................................................................................................... 113 Palestinian Theatre for International Awareness Raising and Support Mobilisation ......................................................................................................................... 125 Conclusion ......................................................................................................... 130 Chapter 4: Theatre Practices as Response to the Spacio-cidal State of Exception in the Palestinian Refugee Camp ................................................................. 133 Introduction ...................................................................................................... 133 Al-Rowwad Theatre: Creating ‘Equality’ (Liberation and Return) on Stage? ......... 145 Page 2 of 251 We Are the Children of the Camp, and Handala .................................................. 159 Conclusion ......................................................................................................... 179 Chapter 5: Theatre Practices as Response to ‘Spacio-cidal’ Practices in Sites of Extreme Contention ..................................................................................... 181 Introduction ...................................................................................................... 181 The Freedom Theatre: Cultural Resistance in a Space of Exception ...................... 187 The Freedom Bus: Playback Theatre in Sites of Extreme Contention .................... 203 Conclusion ......................................................................................................... 225 Conclusion ................................................................................................... 227 Theoretical Considerations ................................................................................. 227 Primary Findings ................................................................................................ 229 Bibliography ................................................................................................ 243 Word Count: 78,204 Page 3 of 251 List of Figures Figure 1: The main performance space in Beit Yasmin, performed at Ashtar Theatre, Ramallah, 28th August 2011. ............................................... 91 Figure 2: The multiple forces at play in Palestine, as represented through Beit Yasmin. ............................................................................................... 95 Figure 3: The representation of structural forces in Beit Yasmin. ........................ 97 Figure 4: Female participants perform 'Hakawiyat' play at Yes Theatre, Hebron, 13th October 2011. ............................................................................ 109 Figure 5: Set design for Al-Karitha, performed at the Bethlehem Peace Centre, 8th July 2011. .................................................................................... 121 Figure 6: Al Karitha production; one of the 'bombing' moments. ...................... 123 Figure 7: 48 Minutes for Palestine, performed at Ashtar Theatre, Ramallah, 14th September 2011. .............................................................................. 128 Figure 8: The reconfiguaration of space in 48 Minutes for Palestine. ................ 129 Figure 9: The Freedom Theatre's Playback Bus rehearsal, 26th July 2012. ........ 193 Figure 10: A scene from the Freedom Bus' Playback performance in Nabi Saleh, 19th June 2012. ................................................................................ 213 Figure 11: Scene depicting Israeli violence in Nabi Saleh. .................................. 216 Figure 12: The Playback performers amidst some of the audience in Nabi Saleh. .......................................................................................................... 217 Page 4 of 251 Abstract This study examines Palestinian theatre practices in the West Bank and East Jerusalem within their spatial contexts, analysing how theatre responds to its geopolitical environment as an act of cultural resistance. It argues that space in Palestine is not monolithic, and is subjected to three main structural forces – the Israeli military occupation, international neoliberal humanitarian regime and the Palestinian Authority – which influence Palestinian space at different levels depending on the specific location. As there are multiple spaces in Palestine, I use a number of complementary theories to explain each site, utilizing Sari Hanafi’s composite theoretical framework of ‘spacio-cide’ as an ‘umbrella’ theory, the different components of which are applied to the relevant space whilst bearing in mind its overall conceptualisation. I suggest that the ‘urbicidal’ policies of the Israeli military executed during the second intifada is no longer a relevant theoretical framework, particularly for the main urban sites; however, contentious areas exist in a ‘post-urbicidal’ state. I argue that Palestinian theatre practices respond to the particular spatial condition in which it is being performed. I analyse three particular spaces in Palestine: the mainstream non-refugee urban space which is under the international humanitarian regime; the refugee camp located within the ‘state of exception’; and the site of extreme contention, which is located at the peripheries of Palestine, and which is being subjected to ‘post-urbicidal’ actions by the Israelis. I examine a number of plays and theatre practices in relation to these spaces, to argue that Palestinian cultural resistance through theatre is a tactic through which Palestinians can challenge the conditions under which they live, whilst promoting the continuation of non- violent resistance and Palestinian culture. Page 5 of 251 Declaration The author of this thesis declares that no portion of the work referred to in the thesis has been submitted in support of an application for another degree or qualification of this or any other university or other institute of learning. Page 6 of 251 Copyright Statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns certain copyright or related rights in it (the “Copyright”) and s/he has given The University of Manchester certain rights to use such Copyright, including for administrative purposes. ii. Copies of this thesis, either in full or in extracts and whether in hard or electronic copy, may be made only in accordance with the Copyright, Designs and Patents Act 1988 (as amended) and regulations issued under it or, where appropriate,
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