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Introduction: Political Theatre and the Theatre of Politics 1 Notes Introduction: Political Theatre and the Theatre of Politics 1 . Michael Walzer, “Liberalism and the Art of Separation,” Political Theory 12, no. 4 (1984): 315. The separation isn’t perfect—indeed, Walzer’s argu- ment in this essay is that further separations need to be made and the ones that already exist need to be strengthened through additional rules and institutions, specifically to protect the political sphere from the power of the market. 2 . Thomas Morawetz, “Tension in ‘The Art of Separation,’” Political Theory 13, no. 4 (1985): 599–606. 3 . H a n n a h A r e n d t , The Human Condition (Chicago, IL: University of Chicago Press, [1958]1998), 198. 4 . For a discussion of Arendt’s rejection of determinism, see Margaret Canovan, Hannah Arendt: A Reinterpretation of Her Political Thought (New York: Cambridge University Press, 1992). 5 . A r e n d t , The Human Condition , 187. 6 . See Walter Benjamin’s essay “The Work of Art in the Age of Mechanical Reproduction,” in Illuminations: Essays and Reflections (New York: Schocken Books, 1968), 234–235. 7 . A r e n d t , The Human Condition , 187–188. 8 . See J. Peter Euben, Corrupting Youth: Political Education, Democratic Culture, and Political Theory (Princeton, NJ: Princeton University Press, 1997); J. Peter Euben, The Tragedy of Political Theory: The Road Not Taken (Princeton, NJ: Princeton University Press, 1990); Peter J. Ahrensdorf, Greek Tragedy and Political Philosophy: Rationalism and Religion in Sophocles’ Theban Plays (New York: Cambridge University Press, 2009); Mera J. Flaumenhaft, The Civic Spectacle: Essays on Drama and Community (Lanham, MD: Rowman and Littlefield, 1994), though the author does include chapters on Machiavelli and Shakespeare; Arlene Saxonhouse, “From Tragedy to Hierarchy and Back Again: Women in Greek Political 168 ● Notes Thought,” American Political Science Review 80: 403–418; Martha Nussbaum, The Fragility of Goodness: Luck and Ethics in Greek Tragedy and Philosophy (New York: Cambridge University Press, 1986); Bonnie Honig, “Antigone’s Laments, Creon’s Grief: Mourning, Membership, and the Politics of Exception,” Political Theory 47, no. 1 (2009): 5–43; Aristide Tessitore, “Justice, Politics, and Piety in Sophocles’ Philoctetes,” Review of Politics 65 (2003): 61–88. 9 . Notable exceptions include Karen Hermassi, Polity and Theatre in Historical Perspective (Berkeley: University of California Press, 1997); Mark Ingram, Rites of the Republic: Citizens’ Theatre and the Politics of Culture in Southern France (Toronto: University of Toronto Press, 2011); Loren Kruger, The National Stage: Theatre and Cultural Legitimation in England, France, and America (Chicago: University of Chicago Press, 1992). 1 0 . K r u g e r , The National Stage. 11 . Grinor Rojo and Michael Sisson, “Chilean Theatre from 1957–1987,” Theatre Journal 41, no. 4 (1989): 524–537. 12 . Eugene van Erven, “Philippine Political Theatre and the Fall of Ferdinand Marcos,” The Drama Review: TDR 31, no. 2 (1987): 57–78. 13 . Serdar Ö zt ü rk, “Karag ö z Co-Opted: Turkish Shadow Theatre of the Early Republic (1923–1945),” Asian Theatre Journal 23, no. 2 (2006): 292–313. 14 . Michael Thompson, “The Order of the Visible and the Sayable: Theatre Censorship in Twentieth-Century Spain,” Hispanic Research Journal 13, no. 2 (2012): 93–110. 15 . I will discuss the cases of France and Germany below. 16 . Linda S. Myrsiades, “Narrative, Theory, and Practice in Greek Resistance Theatre,” Journal of the Hellenic Diaspora 21 (1995): 9–83. 17 . Preben Kaarsholm, “Mental Colonisation or Catharsis? Theatre, Democracy, and Cultural Struggle from Rhodesia to Zimbabwe,” Journal of Southern African Studies 16, no. 2 (1990): 246–275. 18 . Rose Mbowa, “Theater and Political Repression in Uganda,” Research in African Literatures 27, no. 3 (1996): 87–97. 19 . In his article, Robert McLaren discusses his work as a member of a the- atre group performing in Zimbabwe, Mozambique, and Tanzania: Robert Mshengu McLaren, “Theatre on the Frontline: The Political Theatre of Zambuko/Izibuko,” The Drama Review: TDR 36, no. 1 (1992): 90–114. 20 . Paul Ryder Ryan, Julian Beck, and Judith Malina, “The Living Theatre in Brazil,” The Drama Review: TDR 15, no. 3 (1971): 20–29. 21 . Jean Graham-Jones, “Broken Pencils and Crouching Dictators: Issues of Censorship in Contemporary Argentine Theatre,” Theatre Journal 53, no. 4 (2001): 595–605. 22 . Mira Kamdar, “Theatre and Repression: Saffron Nightmares,” American Theatre 21, no. 9 (2004): 28–31, 100–102. Notes ● 169 2 3 . A n d r e w N . W e i n t r a u b , Power Plays: Wayang Golek Puppet Theatre of West Java (Athens, OH: Ohio University Research in International Studies, 2004). 2 4 . E u g e n e V a n E r v e n , The Playful Revolution: Theatre and Liberation in Asia (Bloomington: Indiana University Press, 1992). This book documents Boal-inspired theatre movements in the Philippines, South Korea, India, Pakistan, Indonesia, and Thailand. 25 . The following data are taken from Karen Hauser, The Demographics of the Broadway Audience, 2008–2009 (New York: The Broadway League, 2009). 26 . These numbers are slightly higher than those who attend Broadway musi- cals: 71 percent of musical attendees have college degrees; 34.4 percent are age 50 and over. 27 . Don Aucoin, “Phantom of the Theatre: Audience is Getting Older,” The Boston Globe, June 17, 2012, http://www.boston.com/ae/the- ater_arts/articles/2012/06/17/theater_audiences_are_getting_ older/?page=1 According to one study, in the United States, the percentage of young adults who attend plays has decreased 23 percent from 1982 to 2010. See E. Carew, “Attracting Young Patrons: A Challenge for Arts Groups,” Chronicle of Philanthropy 22, no. 6 (2010): 3. This study defines “young adults” as those of ages 18–24. 28 . On Sartre’s theatre more generally, see Mayer, Steppenwolf and Everyman ; Dorothy McCall, The Theatre of Jean-Paul Sartre (New York: Columbia University Press, 1971). 29 . On Sartre’s decision to stop writing plays, see Sartre on Theatre , 69. 30 . See Rosette C. Lamont, “The Surrealist Prankster,” in Ionesco’s Imperatives: The Politics of Culture (Ann Arbor: University of Michigan Press, 1993), 37–64, especially 42. 31 . On Ionesco’s fame and celebrity, see Ronald Hayman, Eugene Ionesco (New York: Ungar, 1976). 32 . Kenneth Tynan’s commentaries on Ionesco are contained in his anthol- ogy Curtains (New York: Atheneum, 1961); for a superb discussion of the Tynan-Ionesco dust up, see Mayer’s “Ionesco and Ideologies” in Steppenwolf and Everyman . 3 3 . A n d r e w R e h f e l d , “ O f f e n s i v e P o l i t i c a l T h e o r y , ” Perspectives on Politics 8, no. 2 (2010): 465–486. 3 4 . B o n n i e H o n i g , r e v i e w o f Philosophy and Real Politics , by Raymond Geuss; Public Philosophy in a New Key, vol. 1: Democracy and Civic Freedom , by James Tully; and Public Philosophy in a New Key , vol. 2: Imperialism and Civic Freedom , by James Tully, Perspectives on Politics 8, no.2 (2010): 659. 3 5 . S t e p h e n E r i c B r o n n e r , Of Critical Theory and Its Theorists, 2nd Edition (New York: Routledge, 2002), 4. 170 ● Notes 2 George Bernard Shaw: The Theatre of Bourgeois Radicalism 1 . For Shaw’s biography, I draw here primarily on Arthur Ganz, George Bernard Shaw (New York: Grove Press, 1983); and Michael Holyrod, Bernard Shaw: Volume 1, The Search for Love (New York: Random House, 1988). 2 . See Eric Hobsbawm’s three-volume history of the nineteenth century: Eric Hobsbawm, The Age of Revolution: Europe, 1789–1848 (New York: Vintage Books, 1962); Hobsbawm, The Age of Capital, 1848–1875 (London: Weidenfeld and Nicolson, 1975); and Hobsbawm, The Age of Empire, 1875–1914 (London: Weidenfeld and Nicolson, 1987). See also Modris Eksteins, Rites of Spring: The Great War and the Birth of the Modern Age (Boston, MA: Houghton Mifflin, 1989). 3 . Alexander Gerschenkron, Economic Backwardness in Historical Perspective: A Book of Essays (Cambridge, MA: Belknap Press of Harvard University Press, 1962). See also, Charles Tilly, Coercion, Capital, and European States: AD 990–1992 (Malden, MA: Blackwell, 1990); Ernest Gellner, Nations and Nationalism (Ithaca, NY: Cornell University Press, 1983); Charles Tilly, European Revolutions: 1492–1992 (Malden, MA: Blackwell, 1993); and Roderick Phillips, Society, State, and Nation in Twentieth-Century Europe (Upper Saddle River, NJ: Prentice Hall, 1996). 4 . B a r r i n g t o n M o o r e , Social Origins of Dictatorship and Democracy: Lord and Peasant in the Making of the Modern World (Boston: Beacon Press, [1966] 1993). See also Theda Skocpol, States and Social Revolutions: A Comparative Analysis of France, Russia, and China (New York: Cambridge University Press, 1979). 5 . See J. B. Bury, The Idea of Progress: An Inquiry into its Origin and Growth (London: Macmillan and Company, 1920). See also Maurice Mandelbaum, History, Man and Reason: A Study in Nineteenth Century Thought (Baltimore, MD: Johns Hopkins University Press, 1971); Robert Nisbet, History of the Idea of Progress, 2nd Edition (New Brunswick, NJ: Transaction Publishers, 1994); George G. Iggers, “The Idea of Progress: A Critical Assessment,” The American Historical Review 71, no. 1 (October 1965): 1–17; and Morris Ginsberg, The Idea of Progress: A Revaluation (London: Methuen, 1953). 6 . See Bury, introduction to The Idea of Progress. 7 . The classic account of the European balance of power remains Hans Morgenthau’s Politics Among Nations , originally published in 1948 (New York: McGraw Hill, 7th Edition, 2005). 8 . See Eric Hobsbawm, Nations and Nationalism Since 1780: Programme, Myth, Reality (New York: Cambridge University Press, 1992).
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