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Visiting Griffin at the Confluence of Playwriting, Ethics and Spirit: Towards Poet(H)Ic Inquiry in Research-Based Theatre

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Visiting Griffin at the Confluence of Playwriting, Ethics and Spirit: Towards Poet(H)Ic Inquiry in Research-Based Theatre Visiting Griffin at the Confluence of Playwriting, Ethics and Spirit: Towards Poet(h)ic Inquiry in Research-based Theatre by Heather Anne Duff B.A., York University, 1979 M.Div., McMaster University, 1983 M.F.A., The University of British Columbia, 1986 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Language and Literacy Education) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) September, 2016 © Heather Anne Duff, 2016 Abstract Poet(h)ic inquiry is a pedagogical space of inquiry at the confluence of playwriting, ethics and spirit, in the context of research-based theatre. It is an inquiry about presences and absences: the yu-mu (Aoki, 2000) within ethico-spiritual dilemmas, with respect to (1) an ethic of meaning, (2) individual and social justice, (3) aesthetic values, (4) an ethic of respect (Tuhiwai Smith, 2005) regarding authorship, and (5) integrated ethical relationality in contexts of teaching-learning-creativity-playwriting-knowing. Within arts-based research, there are notable ethical gaps (Boydell et al., 2012; Gallagher, 2007b; White & Belliveau, 2010) related to a quest for ethicality (Denzin, 2006; Norris, 2009), meaning (Frankl, 1946/2004), and hope-based, emancipatory pedagogy (Freire, 2006) within located social justice. Research-based theatre (Belliveau, 2015; Goldstein, 2012; Lea & Belliveau, 2015; Lea at al., 2011; Norris 2009; Prendergast & Belliveau, 2013; Saldaña, 2005, 2011), which aims to balance aesthetics with instrumental purposes (Jackson, 2005), is well positioned for ethics-situated inquiry, within a plethora of psycho-spiritual, socio-political, and geo- historical contexts. My dissertation play, Visiting Griffin, expresses the interplay between memory and present time. While visiting an absent student actor in a hospital wing, Blythe, a director/drama teacher, inquires poet(h)ically on a thread of memories through the lens of playwriting –incorporating various art forms, genres, literacies and modalities (Siegel, 2006). Scenes depict a paradox of presence-absences: yu-mu (Aoki & Jacknicke, 2000, p. 3), within particular ethical dilemmas across time and place, towards a (possibly redemptive) visit to Griffin, who is both character and metaphor in connection with the notion of self-other: hito ii (Aoki, 1995, p. 6). Chorus-like, supporting characters, Henriette and Mabel, offer a bilingual presence-absence in counterpoint to Dancer, who embodies a literacy of silence. Themes emerge from Visiting Griffin such as exile and return, expatriation and repatriation, and the cost of social justice. I explore my ethics criteria in dynamic poet(h)ic relationality from various perspectives. Aesthetics in poet(h)ic inquiry is linked to sub-textuality, how theme and meaning are reflected within multi-modalities, and what constitutes aesthetic knowing. Beyond Visiting Griffin, ‘redemptivity’ may be realized as a point of departure, through integrated poet(h)ical relationality on the stage of life. iii Preface My research design is informed by conventions of playwriting, research-based theatre, arts- based research and other aspects of scholarship. Research Ethics Review was not required for this thesis. Act Four incorporates journal entries from my journal written at L’Abbaye Cistercienne, Oka, Quebec, June, 1977, based on a verbatim dialogue between Père Benedict Vanier (1925-2014) and myself. In Act Six of Visiting Griffin, the poem “Christmas 1982” is based on the poem: Duff, H. (1985). Christmas. In I. Shimrat (Ed.), Phoenix Rising: The Voice of the Psychiatrized (pp. 5). Toronto, ON: On Our Own. Appendix A – Jan Swaren (1983). Communion With Whom? (Lithograph 2/8) is used with permission of the artist. Appendix B – Jan Swaren (1983). Mary Magdalene (Oil on canvas) is used with permission of the artist. Appendix B, continued – Jan Swaren in McMaster University Art studio, 1983, with Mary Magdalene painting on the wall. This photo is used with permission of the artist. Figure 1 – Self/other equation is my own design. iv Table of Contents Abstract ................................................................................................................................... ii Preface .................................................................................................................................... iv Table of Contents .................................................................................................................... v List of Figures ...................................................................................................................... viii Invocation ............................................................................................................................... ix Acknowledgments ................................................................................................................... x Dedication .............................................................................................................................. xii Part I – Approaching the Visit (Prologue) ........................................................................... 1 “Perhaps it is the Task” (found poem) .................................................................................. 1 Towards Poet(h)ic Inquiry .................................................................................................... 2 A Memoir: (Ghost)-Playwriting and Paradigm Wars ........................................................... 5 Dramatization of Research .................................................................................................. 10 Playwriting as Research and Data ....................................................................................... 19 After Reading Aoki ............................................................................................................. 22 Yu-mu as Paradox of Ethical Dilemma ............................................................................... 23 Complementary Theoretical Viewpoints ............................................................................ 27 Interspace and Poet(h)ic inquiry ......................................................................................... 29 Poetics, Ethics, Poet(h)ics ................................................................................................... 33 Inside Visiting Griffin ......................................................................................................... 36 Multiple Genres, Literacies and Modalities ........................................................................ 37 v “Dramatis Personae” (a poem) ............................................................................................ 42 PART II – The Visit (Visiting Griffin, a stage play) .......................................................... 43 Characters ........................................................................................................................... 43 Act One ............................................................................................................................... 45 Act Two .............................................................................................................................. 64 Act Three ............................................................................................................................ 77 Act Four .............................................................................................................................. 88 Act Five ............................................................................................................................. 100 Act Six .............................................................................................................................. 113 Act Seven .......................................................................................................................... 159 Act Eight – Postscript ....................................................................................................... 176 PART III – After the Visit (Epilogue)............................................................................... 178 The End ............................................................................................................................. 178 Poet(h)ic Moments ............................................................................................................ 179 Exile and Expatriation ....................................................................................................... 182 The Griffin Question ......................................................................................................... 189 Criteria Towards Poet(h)ic Inquiry ................................................................................... 194 Authorship and Sacred Literary Memory ......................................................................... 199 Subtext and Authorship ..................................................................................................... 201 Production Notes ............................................................................................................... 203 Director’s Vision ............................................................................................................... 206 Genres, Literacies and Modalities ....................................................................................
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