PERFORMING 'DUBYA': GEORGE W. BUSH NARRATIVES on the POLITICAL and THEATRICAL STAGES by Ryan Patrick Howe BA Theatre Arts A

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PERFORMING 'DUBYA': GEORGE W. BUSH NARRATIVES on the POLITICAL and THEATRICAL STAGES by Ryan Patrick Howe BA Theatre Arts A PERFORMING ‘DUBYA’: GEORGE W. BUSH NARRATIVES ON THE POLITICAL AND THEATRICAL STAGES by Ryan Patrick Howe BA Theatre Arts and Political Science, Boston College, 1998 MA Drama, Washington University in St. Louis, 2004 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH THE DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Ryan Patrick Howe It was defended on March 20th, 2013 and approved by Dr. Bruce A. McConachie, Professor, Department of Theatre Arts Dr. Kathleen George, Professor, Department of Theatre Arts Dr. Susan Harris Smith, Professor, Department of English Dissertation Advisor: Dr. Attilio Favorini, Professor, Department of Theatre Arts ii Copyright © by Ryan Patrick Howe 2013 iii PERFORMING ‘DUBYA’: GEORGE W. BUSH NARRATIVES ON THE POLITICAL AND THEATRICAL STAGES Ryan Patrick Howe, PhD University of Pittsburgh, 2013 This dissertation examines how theatrical performance might offer the political left a model for responding to the communication strategies of the political right through a case study of responses to the George W. Bush administration. I conduct this exploration through a two-part study. In the first part, I establish a theoretical framework by looking to the work of Francis Fukuyama, Bruce McConachie, Brian Boyd and others to identify the common evolutionary and cognitive roots of storytelling and political order. Based on that understanding, I examine the historical development of presidential storytelling and create a rubric for analyzing contemporary presidential performance. The second part of this dissertation is comprised of three chapters, each of which focuses on a particular narrative strategy used by the George W. Bush administration to engender public support for the president and administration policies. I introduce and examine three narrative frameworks: the dynasty narrative, the redemption narrative, and the rescue narrative. In each chapter, I conduct a focused examination of the narrative strategy and how the president performed it. I then identify ways in which the theatrical performances in the case study expose, reject or replace the narratives crafted by Bush’s presidential performance. I conclude each chapter by comparing the theatrical responses to those provided by late night television performances of Jon Stewart and Stephen Colbert. iv TABLE OF CONTENTS PREFACE………………………………………………………………………..……………..…...vii 1.0 INTRODUCTION: PRESIDENTIAL STORYTELLING…………………………….……1 1.1 EVOLUTION, POLITICAL ORDER, AND STORYTELLING………………..…6 1.2 ORIGINS OF THE AMERICAN PRESIDENCY AND EARLY PRESIDENTIAL STORYTELLING…………………………………..………….19 1.3 FACTORS SHAPING CONTEMPORARY PRESIDENTIAL STORYTELLING………………………………………………..………………..30 1.3.1 Rapidly Changing Communication Media…………….…………………31 1.3.2 The Expanding Authority of the Executive Branch……….……………..39 1.3.3 Deficient Storytelling by American Progressives…………..…………….44 2.0 CONTEMPORARY PRESIDENTIAL PERFORMANCE…………………….…………..49 2.1 THE PRECEDENTIAL PERFORMANCE OF RONALD REAGAN..……….....51 2.2 PERFORMANCE, COGNITION, AND CLASSIFYING CONTEMPORARY PRESIDENTIAL PERFORMANCE……..…………………64 2.2.1 Presidential Ritual………………………………………….………….….69 2.2.2 Presidential Character: Repeated Patterns of Behavior………………….73 2.2.3 Narration of Presidential Action………………………………..………...76 3.0 THE BUSH DYNASTY NARRATIVE ……………….…………………………………..82 3.1 GEORGE W. BUSH’S PERFORMANCE OF THE DYNASTY NARRATIVE…………………………………………………………93 3.2 RESPONSES TO THE DYNASTY NARRATIVE…………………………….…99 3.2.1 You’re Welcome, America: A Final Night with George W. Bush..............101 3.2.2 The Passion of George W. Bush……………………………………….……….106 3.2.3 When We Go Upon the Sea…………………………………………………..…110 3.2.4 The Daily Show and The Colbert Report …………….…………………….…116 4.0 THE BUSH REDEMPTION NARRATIVE………….…………………………………….128 4.1 GEORGE W. BUSH AND THE PAULINE REDEMPTION NARRATIVE………………………………………..131 4.2 GEORGE W. BUSH’S PERFORMANCE OF THE REDEMPTION NARRATIVE……………………………………………………136 4.2.1 Transgression Phase……………………………………………….………136 4.2.2 Transformation Phase……………………………………….………….…138 4.2.3 Commissioning Phase………………………………….………………….139 v 4.3 RESPONSES TO THE REDEMPTION NARRATIVE…………..……………….140 4.3.1 The Passion of George W. Bush ….……………………………………………144 4.3.2 When We Go Upon the Sea……………………………………..……….………148 4.3.3 You’re Welcome, America: A Final Night with George W. Bush …………152 4.3.4 The Daily Show and The Colbert Report ……………………………………..155 5.0 THE BUSH RESCUE NARRATIVE……………..…………………………………...........161 5.1 GEORGE W. BUSH’S PERFORMANCE OF THE RESCUE NARRATIVE………………………………………….…………………167 5.2 RESPONSES TO THE RESCUE NARRATIVE………………………….………..174 5.2.1 Stuff Happens………………………………………………………………………177 5.2.2 You’re Welcome, America: A Final Night with George W. Bush…………..182 5.2.3 When We Go Upon the Sea………………………………………….…………..187 5.2.4 The Daily Show and The Colbert Report ……………………………….……..190 5.3 CONCLUSIONS……………………………………………………………………197 BIBLIOGRAPHY…………………………………………….…………………………...…202 vi PREFACE I owe considerable gratitude to those who have helped me with this project. First, I would like to thank Buck Favorini for his careful guidance, intellectual example, and persistent encouragement. I also appreciate and acknowledge the robust contributions of the other members of my dissertation committee: Bruce McConachie, Kathleen George, and Susan Harris Smith. I am grateful to Lee Blessing and Adam Mathias for graciously allowing me access to their unpublished, thought-provoking plays. I also want to thank the University of Pittsburgh for the resources provided me over years of study. In particular, I am appreciative of the community maintained by the faculty, staff, and students in the Theatre Arts Department. I found it to be a place for vigorous intellectual and artistic exploration. Among my many colleagues and friends there, I would like to offer particular thanks to my constant companions Chip Crane and Melissa Porterfield and the valuable mentorship of past professors Melanie Dreyer-Lude and Lynne Conner. Likewise, many teachers and academic mentors have provided inspiration and example throughout my academic pursuits. Among many others, I owe particular debts to Scott Cummings at Boston College and Julie Jordan at Washington University in St. Louis. I owe additional thanks to a great wealth of giving friends, family, and colleagues. To all my friends in Baltimore, New York, Seattle, Los Angeles, Pittsburgh and elsewhere: your good humor and faith have driven me to persevere. I thank my colleagues in Woodlawn, especially vii Chris Smith Ritter, for the encouragement, understanding, and advice. I thank my grandparents, aunts, uncles, cousins, and in-laws for years of delicate inquiries and encouraging words. I am especially grateful, of course, to my parents. Their steadfast support of their children and grandchildren is inspirational. I owe any academic, professional, and personal successes to their investments, sacrifices, and love. Likewise, my brother and sister have offered constant and crucial support. I am particularly grateful to Rory for having that little room for me in Fell’s Point. Most importantly, Sara, thank you for everything, but especially for finding me at just the right time. viii 1.0 INTRODUCTION: PRESIDENTIAL STORYTELLING In The Political Mind: A Cognitive Scientist’s Guide to Your Brain and Its Politics (2009), George Lakoff argues that American political discourse has been recently dominated by radical conservatives who better understand how to exploit the structures of the human brain than their political opponents. Lakoff voices concern that political operatives and politicians, particularly on the political right, appeal to the subconscious level of the American voter in order to promote a particular political agenda and its associated politicians (10). The right’s use of simple and recognizable narratives to engage with voters unconsciously typifies that understanding and allows them to win elections and frame debates. He suggests that the left’s inability to counter these strategies successfully comes from the progressive tendency to privilege tactics rooted in rational persuasion over unconscious cognitive processing in vying for votes. Lakoff, and other scholars such as the similarly-minded Drew Westen, call on the political left to shape counter strategies rooted in the understanding that the mechanisms through which the human brain understands reality are largely unconscious. For Lakoff, the electoral successes of George W. Bush exemplify the right’s superior approach. Of course, it is not surprising that the American presidency might serve as an obvious location for testing the validity of these concerns. Successful storytelling and mythmaking are critical to the maintenance of political power. Historian Evan Cornog addresses the long history of the crafting of presidential stories in his book The Power and the Story (2004). He surveys stories throughout American history that have helped elect presidents, support and oppose presidential actions, and reflect on presidential administrations in retrospect. As his study 1 suggests, these narratives can be large or small, complicated or simplistic, rooted in fact or completely fictional, but they have long been critical in attaining and maintaining presidential authority. In contemporary America, presidential stories are told in a particular brand of performance promulgated
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