Theatricalizing Dissent: An Examination of the Methodology and Efficacy of Performance in Contemporary Political Protest Sian Rees Goldsmiths, University of London PhD Theatre and Performance Declaration Declaration of Authorship: I, Sian Rees, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Sian Rees Date: 16/05/2018 Abstract Activists and artists are consciously bringing theatre to the forefront of contemporary protest interventions. This thesis examines the efficacy of performative modes in acts of theatrical dissent. My research is based on case studies from the UK, Paris, Belgium, and the United States which staged interventions, often experimenting with different democratic models of relationships and often prefiguratively, and which campaigned on social, economic, and political issues: against austerity, climate injustice, and consumerism. They employed diverse performative modes: Rough Music, Guerrilla Performance, Play and Gaming, and the creation of a Temporary Autonomous Zone. The Practice as Research component provided the perspective of an insider through my participation in theatrical dissent organized by artists and activists, and through my own work, HOUND (2016), which incorporated a variety of performative modes previously identified as efficacious. Activists seek to expose, through their own performances, the performances of power and legitimacy staged by corporations and governments; and to advocate the necessity for change. Some elements of these modes may militate against political efficacy, whilst others contribute towards it by working to avoid a crude and heavy-handed didacticism by encouraging spectators to collaborate in the performance. I identify and analyze the elements of performance modes which may be conducive in supporting and sustaining activists; and those which may ignite an interest in a cause in spectators. To be a dissenter, to some extent, is to be an outsider, one who questions society’s norms and mores. I argue that theatrical devices (such as ‘making strange’ the everyday), provide the necessary distancing for audiences and participants alike to question the ‘normal’. This is the first step in an exploration of dissent provided by theatre’s ability, when staged as dissent, to create new political realities. Table of Contents Acknowledgements 1 List of Illustrations 4 Introduction 10 Chapter One: Contextual Overview of Theatrical Dissent 32 Chapter Two: Guerrilla Performance 53 Chapter Three: Play As a Mode of Protest 108 Chapter Four: Re-considering The Temporary Autonomous Zone 166 Chapter Five: Theatricalizing Dissent in Practice, Practice as Research 227 Conclusion 291 Appendix One 303 Appendix Two 307 Appendix Three 325 Appendix Four 326 Appendix Five 328 Appendix Six 330 Bibliography 331 Categorized Bibliography 432 Illustrative Material (a) HOUND Audio Tracks: CD (b) HOUND Programme Acknowledgements I would like to thank my supervisor, Professor John London, for all of his work and support. From the outset, he challenged my ideas and arguments, compelling more refined and considered responses. I particularly enjoyed our discussions regarding practice which pushed me to consider precisely what Practice as Research was, and in my case, could be. I would also like to thank my second supervisor, Dr Cami Rowe, who also doubled up as my upgrade examiner, along with Dr Cass Fleming. Both went above and beyond, in offering me extensive, detailed feedback regarding the very first blueprints of this thesis. Their excitement towards my research was palpable and extremely encouraging during those early stages. Cass, your comments regarding how critical it was, in rehearsal, to be a catalyst have stayed with me. I aspire to this every time I meet a group of performers. I would also like to thank Professor Jane Milling, whose encouragement to pursue working in academia was perhaps met slightly reluctantly at the tender age of 21, but without which I would not have got this far. Her belief in my being a ‘smarty pants’ has continued to motivate me over the years. I would like to extend this thanks to those who I encountered whilst I studied for a BA in Drama at Exeter University. From the outset, I was confronted with diverse, radical pedagogy from all who taught me. I was encouraged to perceive the world in relation to power. For that, and for all that I learnt there, I am grateful. Donalh McNeil was the person who introduced me to theatre and performance in the first place, at the age of ten, and I am still indebted to him. It must have been fairly unique for young people to be familiar with, and confident in, performing site-specific theatre, political performance, and directly working with playwrights. His insistence to re-define the meaning of ‘youth theatre’ was particularly formative. That, and his rigorous and demanding training sessions. We all remember the freezing cold tram- shed… To Taghrid Choucair-Visozo, Natasha Phillips, and Lauren Irving. Our work, in creating Make Tea, Not War (2013) was how I came to a point where I was ready to embark on this PhD. I had the questions, motivation, and purpose. I am so grateful to you all for that experience. I would like to thank the AHRC. Without their financial aid, none of this would have been possible. 1 I have been privileged, in completing this thesis, to meet artists and activists who are committed to confronting social injustice, and instigating change, literally changing the world. Their determination to create works which actually do politics is something which I have returned to, again and again. It has changed my relationship with art altogether. And their refusal to accept defeat, has been particularly significant. There are, in a sense, too many people to thank. Many of them are strangers, whose names I may not know, but who I joined with in participating in protests and acts of theatrical dissent over the past years. I would, though, particularly like to thank those who shared their practices and processes with me. John Jordan and Isa Fremeaux, I am particularly indebted to. Not only for their acts of theatrical dissent, which are, in themselves, beautiful performances which always do politics; but also for their commitment to radical pedagogy. Their openness, determination to work prefiguratively with diverse collaborators, and of course, to instigate change through joy and pleasure is a model which I certainly hope to return to. Similarly, their blurring of boundaries between art and politics, work and leisure, and the body and mind is something to aspire to. I particularly enjoyed JJ’s ‘dancing for ideas’! Thank you then to the Laboratory of Insurrectionary Imagination for welcoming me to your world. To BP or Not BP, I would also like to extend my thanks. I have been extremely fortunate in meeting and working with members of the collective; who, from the beginning, were warm, open, and welcoming. Their energy, knowledge, determination, and unbridled enthusiasm for their own brand of creating mischief is infectious, and I look forward to participating in future Guerrilla Performances with them. Part of my initial reluctance, in engaging with research, was the notion that I would have to leave performance and practice behind. Obviously, this was a misguided idea of what a PhD entailed. In this sense, I have been very fortunate in participating in a number of workshops and trainings by artists and activists alike. I would like to thank: Nadine Bloch and Dan Glass (Beautiful Trouble), Dominique Jambert and Vincent Mangado (Théâtre Du Soleil), Marcello Magni (Complicité), and Igor Vamos (Yes Men), who have all kept me thinking, and on my toes. I would also like to thank Peter Schumann for his time, patience, and wisdom. It was fascinating to discuss protest, politics, and art over breakfast in Rotterdam. To Christopher Knight too, for so passionately answering my questions relating to 2 Occupy, performance, and precisely what sustained him. I appreciated his honest and open answers. Thanks also to Jen Lunn, whose thoughts on theatre and activism, as well as her useful note on accounting for what her work had achieved and whether her work had changed lives for the better, has been particularly inspirational. In particular, I would like to thank all of the performers and activists who have worked with me in my Practice as Research. From the very initial explorations to its completion, I have been very fortunate in working with such passionate, trusting, and open people: Jack Bateman, Emma Bryn-Jones, Martina Carmignani, Ilaria Ciardelli, Tamsin Cook, Susan Crothers, Hannah Dunton, Rhiannon Kelly, Temidayo Oyekan, Ella Road, Jenna Thorne, and Howard Wright. I would also like to extend my thanks to the participants and audience members who engaged with both iterations of HOUND. Their insightful comments, provocative feedback, and rich responses left me in the enviable position of having too much material. To all of my friends, who have offered their love, support, and understanding during what I have often called my PhD pregnancy. You are now off-duty! This work would, in so many ways, not have been possible without my parents. I probably knew more than most four year olds about politics, and, in particular, the evils of Margaret Thatcher. We never did find out why she stole our car radio. I thank them for my education; for instilling in me a sense of justice and injustice and for showing me the meaning of principles. Thank you, thank you, thank you to ‘Team Shemma B’ for tireless discussions, debates, and attention to detail. This work is dedicated to Emma. We have both lived this research, this practice. She has listened, challenged, and nurtured. She has also kept me laughing. Her faith in this work, in understanding it as important, has rubbed off on me.