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ENGLISH-LANGUAGE THEATRES in POST-COMMUNIST PRAGUE By TITLE PAGE PERFORMING CULTURES: ENGLISH-LANGUAGE THEATRES IN POST-COMMUNIST PRAGUE by Gwendolyn Alaine Orel AB English, AB Classics, Stanford University, 1987 AM English, Stanford University, 1987 Submitted to the Graduate Faculty of Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2005 COMMITTEE PAGE UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Copyright © by Gwendo lyn Alaine Orel Gwendolyn2005 Alaine Orel It was defended on December 1, 2005 and approved by Nancy Condee, Associate Professor, Slavic Languages and Literatures Attilio Favorini, Professor, Theatre Arts Kathleen George, Professor, Theatre Arts Kiki Gounaridou, Associate Professor, Theatre Studies, Smith College J. Thomas Rimer, Professor Emeritus, Theatre Arts, Department of East Asian Languages and Literatures Dissertation Advisor: Attilio Favorini, Professor, Theatre Arts ii ABSTRACT PERFORMING CULTURES: ENGLISH-LANGUAGE THEATRE IN POST-COMMUNIST PRAGUE Gwendolyn Alaine Orel, PhD University of Pittsburgh, 2005 The presence of English-language theatres (ELTs) in Prague in the nineties coincided with the ongoing transition to a market economy in the Czech Republic, as the English language itself became increasingly the international language of business and culture. Under Communism, Czech theatre had been highly political through veiled protests against the system of power. After 1989, Czech theatre began moving into spheres of commodification and tourism. How the ELTs in Prague negotiated their place in a shifting society reveals a performance of identity. The ELTs tracked the turning points in Czech post-revolutionary history of the 1990s. The history of the ELTs has been constructed through personal and telephone interviews and emails, as well as reviews, articles, manuscripts and production videotapes. Companies analyzed include North American Theatre, Small and Dangerous, Black Box International Theatre (which began its life as Studio Theatre), Exposure, and Misery Loves Company. Structurally, this investigation covers three distinct periods of the Czech transition: the optimistic early nineties; the mid-nineties, when the market economy flourished along with increasing instances of corruption; and the late nineties, when disillusionment affected the Czech Republic and most of the ELTs vanished. ELTs in Prague primarily used four production strategies: 1) representing the Performer’s Culture; 2) representing the Host culture in English; 3) bi-cultural and/or bi-lingual productions, including nonverbal work, collaboration with Host culture theatre companies, and multicultural casting, and 4) presenting plays about culture clash. Theoretical underpinnings for this study include intercultural performance theory, reception and semiotic theory, historiography, and theories of globalization and cultural tourism. The achievements and disappointments of the ELTs reveal underlying principles of production and reception applicable not only to Eastern Europe but to any region with a growing iii English-speaking subculture. Findings include the observation that production strategy and mission are less significant than the cultural and economic contextualizing of the production company. Curiosity about the English language dwindles as its usage grows. ELTs that were most successful worked structurally with strategy number three in terms of performance venue, schedule and style, contributing to the cultural life of the city rather than self-consciously using theatre to cross borders. iv TABLE OF CONTENTS PREFACE..................................................................................................................................... X CHAPTER 1. INTRODUCTION............................................................................................. 1 SECTION 1.1 LIMITATIONS AND DIRECTION ......................................................... 4 SECTION 1.2 APPROACHES TO ANALYSIS............................................................... 7 SECTION 1.3 GLOBALIZATION AND ENGLISH-LANGUAGE THEATRE IN PRAGUE .................................................................................................................... 11 SECTION 1.4 CZECH THEATRE AND NATIONAL IDENTITY............................. 15 SECTION 1.5 CZECH THEATRE UNDER LATE COMMUNISM........................... 20 SECTION 1.6 THEATRE AND THE VELVET REVOLUTION ................................ 21 SECTION 1.7 POLITICAL TRANSITIONS.................................................................. 23 SECTION 1.8 TRANSITIONS IN SOCIETY................................................................. 25 SECTION 1.9 THEATRE AFTER THE REVOLUTION............................................. 27 SECTION 1.10 AMERICANIZATION IN PRAGUE ................................................... 29 SECTION 1.11 "YAPS," ENGLISH, AND THEATRE ................................................ 32 SECTION 1.12 PRAGUE AND THE ELTS ................................................................... 39 CHAPTER 2. 1990-1993: “THIS IS THE TIME WHEN ALL AMERICANS ARE GOOD” ....................................................................................................................... 40 SECTION 2.1 TEACHERS OF ENGLISH, TEACHERS OF CULTURE.................. 44 SECTION 2.2 NORTH AMERICAN THEATRE AND “A VERY AMERICAN QUESTION” .................................................................................................................... 46 SECTION 2.3 THE BIRTH OF STUDIO THEATRE AND THE OPENING OF THE BLACK BOX .................................................................................................................... 55 SECTION 2.4 THE FIRST SUMMER FESTIVAL: BLACK BOX EXPANDS........ 65 SECTION 2.5 ASYLUM: INTERNATIONAL COLLABORATION......................... 67 v SECTION 2.6 AN ENGLISH-LANGUAGE LITERARY CULTURE IN PRAGUE: BEEFSTEW FEEDS THE ELT SCENE............................................................................ 71 SECTION 2.7 SMALL AND DANGEROUS PRESENTS ORIGINAL EXPATRIATE WRITING................................................................................................... 73 2.7.1 “Cowboys and Indians”: Re-presenting Culture Clash................................ 77 SECTION 2.8 PERFORMANCE OF CAPITALISM: K-MART AND COMMERCIALISM............................................................................................................ 80 CHAPTER 3. 1994-1996: “A BIZARRE BY-PRODUCT OF THE INTERNATIONALIZATION OF CZECH CULTURE”....................................................... 82 SECTION 3.1 BLACK BOX TURNS A CORNER: 1994............................................. 85 3.1.1 Grace................................................................................................................... 85 3.1.2 Alenka in Wonderland ...................................................................................... 87 SECTION 3.2 THE SECOND SUMMER FESTIVAL: BLACK BOX AS A HALFWAY HOUSE............................................................................................................. 89 3.2.1 Karhan’s Men: Enjoying a Laugh at the Former Regime............................ 95 3.2.2 InsideOut’s International Arts Festival......................................................... 100 3.2.3 Building Bridges Inside the Community ....................................................... 101 SECTION 3.3 THE THIRD SUMMER FESTIVAL: REPRISING AND REVIVING ................................................................................................................ 102 3.3.1 Lemonade Joe: Re-presenting Western Parody .......................................... 105 SECTION 3.4 BLACK BOX’S NEW LEADERSHIP: NANCY BISHOP FORMALIZES THE MISSION........................................................................................ 108 SECTION 3.5 EXPOSURE: PLAYING IN TWO LANGUAGES ............................ 113 3.5.1 Staging the Past in Two Languages: Exposure’s first full productions..... 117 3.5.2 Just Another Blasted Love Song: Bilingual Success.................................... 119 3.5.3 The Infante: Spain in Prague......................................................................... 124 CHAPTER 4. 1994-1996: “THE ROLE OF THE AMERICAN COMMUNITY IN PRAGUE CULTURAL LIFE CANNOT BE DISREGARDED”......................................... 126 SECTION 4.1 THE FOUNDERS OF MISERY LOVES COMPANY ....................... 129 SECTION 4.2 “THE TRUE HOPE OF PRAGUE ENGLISH-SPEAKING THEATRE”: A STRONG BEGINNING ........................................................................ 132 vi 4.2.1 The Anger in Ernest and Ernestine ............................................................... 132 4.2.2 A Nightingale for Dinner................................................................................. 134 SECTION 4.3 MOVING INTO CELETNÁ.................................................................. 137 SECTION 4.4 MISERY LOVES COMPANY BRANCHES OUT ............................. 138 4.4.1 Big Knees .......................................................................................................... 138 4.4.2 Big Knees playwrights: Laura Zam and Sean Fuller.................................. 140 4.4.3 Class Acts.......................................................................................................... 145 SECTION 4.5 KING STAG: THE HIGH POINT OF INTERCULTURAL THEATRICAL COLLABORATION..............................................................................
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