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Staging Atlantic Slavery: Figuring Theatricality, Performance and Resistance in Anglo-Caribbean Narratives of Slavery and Abolition

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Staging Atlantic Slavery: Figuring Theatricality, Performance and Resistance in Anglo-Caribbean Narratives of Slavery and Abolition Staging Atlantic Slavery: figuring theatricality, performance and resistance in Anglo-Caribbean narratives of slavery and abolition Margaret Stewart Chalcraft For the degree of Doctor of Philosophy: Creative Critical Scriptwriting University of East Anglia School of Literature, Drama and Creative Writing Date Submitted: September 2020 © This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there-from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. The author requests that any parties wishing to use, perform or produce the stage plays in this thesis contact [email protected]. 0 Abstract During the period of British abolitionism, there was a marked absence of historically accurate representations of enslaved people on the metropolitan stage. Calls for abolition by the formerly enslaved in the Georgian era nonetheless employed a theatrical idiom, utilising spectacle to enlist support and inspire sympathetic witness in their audiences. Writers such as Mary Prince and Robert Wedderburn dramatized their lived experience in narrative form, deploying performative speech acts and theatricality to press for political change. This thesis addresses the staging of Atlantic slavery and its legacies through both creative and critical means. It comprises a trilogy of original stage plays, accompanied by critical research interrogating performative, rhetorical and historical constructions and subversions of the discourses of Atlantic slavery and abolition. The first two plays and their concomitant critical work explore how Prince and Wedderburn confronted dominant racialised discourses, forcing acknowledgement of their subjectivity: Prince through linguistic dexterity, encoding and mimicry; Wedderburn through anarchic, carnivalesque theatrics. Working within the prevailing discourses of Christianity and sensibility, both elected to ‘perform the self’, making their own persons central to their work against dehumanizing narratives of enslavement. Many creative productions and discursive legacies of slavery and abolition in Britain continue to elide the subjectivity of the enslaved. Through the examination of abolition-era historical discourses and contemporary representations, the third stage play explores the ways in which post-colonial narratives of abolition, slavery and reparations continue to impact on British life today. The accompanying critical work offers a reflexive analysis of the discursive, theoretical and imaginative intersections between the creative and critical components of this thesis. 1 Access Condition and Agreement Each deposit in UEA Digital Repository is protected by copyright and other intellectual property rights, and duplication or sale of all or part of any of the Data Collections is not permitted, except that material may be duplicated by you for your research use or for educational purposes in electronic or print form. You must obtain permission from the copyright holder, usually the author, for any other use. 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Contents Abstract……………………………………………………………………………………..1 Acknowledgements………………………………………………………………………...3 Introduction………………………………………………………………………………...4 0.1 Whose abolition is it anyway?...........................................................................10 0.2 A theatre of abolition?.......................................................................................18 0.3 A public spectacle of private suffering………………………………………..24 0.4 An occluded voice? The History of Mary Prince……………………………..28 0.5 Raising his voice: ‘That notorious firebrand’, Robert Wedderburn…………..36 0.6 Closer to the dialectics of life: Creative critical intersections…………………42 Chapter One: Mary Prince’s Performative Voice 1.1 Introduction…………………………………………………………………..48 1.2 ‘The man that says that slaves be quite happy is either ignorant or a lying person’: Claiming humanity, producing authority…………..……………….53 1.3 Letting the English people know the truth: Linguistic stratagems and dramatizing the self ……………………………………………...…………..58 1.4 ‘He knows what is good for me better than I know myself’: Performing Christianity……………………………………………………...……............62 1.5 ‘I saw her change colour, and I left the room’: Strategies of resistance..…...65 1.6 ‘No shame for his servants, no shame for his own flesh’: The absence of sex, the presence of the body……………………………………….....……..71 Chapter Two: Robert Wedderburn’s Theatrical Voice 2.1 Introduction……………………………………………………..……………78 2.2 ‘You, my countrymen, can act without education’: Literacy vs. orality…......83 2.3 ‘Acknowledge no King. Acknowledge no Priest. Acknowledge no Father’ Religion and politics…………………………………………………………89 2.4 ‘I can now write home and tell the slaves to murder their masters as soon as they please’: Creolization and the Carnivalesque…………………………....96 2 Chapter Three: Staging Atlantic Slavery 3.1 Introduction…………………………………………………………………102 3.2 Mother Country: Mary and Susanna………………………………………..105 Stage play: Mother Country……………………………………………...…113 3.3 Glorious Causes: Robert Wedderburn and his world………………..……..151 Stage play: Glorious Causes………………………………………………..156 3.4 Free Women of Dominica Bathing in a Stream: Troubling Reminders……236 Stage play: Free Women of Dominica Bathing in a Stream………………..244 Conclusion……………………………………………………………………………….294 Bibliography……………………………………………………………………………..299 Acknowledgements Embarking on a PhD invariably attracts numerous warnings about the hardships of working alone. While this proves to be true, a doctorate is also a collaboration. My heartfelt thanks go to all the family, friends and colleagues who have accompanied me on this five-year journey, especially to Steve Waters, for his inspirational creative guidance, and Alison Donnell, for her exceptional critical rigour. Thanks and love also go to Manzu, whose quiet but incisive commentary, and constant care and support have sustained me every step of the way. With grateful acknowledgements to the higher education consortium CHASE, for their generous funding of this research. 3 Introduction In the closing paragraphs of Beloved, Toni Morrison’s 1987 portrait of a woman haunted by the past, the narrator insists repeatedly that the story that has just unfolded is ‘not a story to pass on.’1 This paradoxical injunction captures the complexity of telling stories about slavery. How can artists and creators make cultural products based on three hundred years of inhumanity and annihilation, the chief subjects of which remain largely voiceless and nameless? How to chart the continuing impact of slavery on individuals and societies in countries which, as Morrison herself said, are still suffering from ‘national amnesia’ on the subject?2 The answer lies within those same concluding lines, which capture the paradox of both the narrative enterprise and Beloved herself, the ghost of a child murdered by her mother to save her from enslavement and deprive her master of the value of her person. As scholar Jill Matus puts it: ‘The narrative project, […] even as it insists on inscribing Beloved as unaccounted for and disremembered – one whose story is inadvisable or impossible to transmit – it also transmits that story, enrolling the unbeloved as beloved.’3 The ghost speaks for those who did not survive. The narrative admits that although a true history is irrecoverable, re-visiting the past in creative representation is necessary for genuine healing. The central question underlying the work of this thesis is whether it is possible to dramatize Atlantic slavery and abolition. How can enslaved subjectivity be constructed and staged without reducing the enslaved to a homogenised or victimised whole? Do the ontologies of slavery and abolition remain dynamically present in British public life and if so, how can the playwright represent and reify their legacies for a twenty-first century audience? The voices of the enslaved reach down to us in the form of slave, or freedom narratives4, most of which were shaped and constrained by their abolitionist sponsors, and were therefore, as Morrison emphasises, ‘unable to bear the fullest possible witness to the interior lives of the slave narrators.’5 Marcus Wood, an academic and writer on the iconography and representation of slavery, agrees that enslaved writers’ texts have generally been subject to the ‘normalising structures of bourgeois narrative history.’6 Wood’s monograph Slavery, Empathy and Pornography seeks to explain why British 1 Toni Morrison, Beloved (London: Picador, 1988), pp. 274-275. In an interview twenty-seven years after the novel’s
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