IN DEFIANCE OF CENSORSHIP: AN EXPLORATION OF DISSIDENT THEATRE IN COLD WAR POLAND, CZECHOSLOVAKIA, AND THE GERMAN DEMOCRATIC REPUBLIC by ANN KATHERINE SHAPIRO A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Drama and Theatre Arts School of English, Drama, American and Canadian Studies College of Arts and Law University of Birmingham March 2016 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis explores dissident theatre in East Central Europe during the second half of the Cold War (1964-1989). Contextualised within the discussion of individual theatrical and performance cultures and practices in Poland, Czechoslovakia, and The German Democratic Republic, it examines how theatre was used to subvert the dominant ideologies and dissent from the status quos in these countries. It establishes a framework that addresses the divergences between Anglo-American political theatre and Eastern Bloc dissident theatre, and discusses the necessity of considering the work of subcultural and subversive artists when analysing work of this kind. The core chapters discuss the theatrical and dramatic techniques, and the intention of the artists with regards to the work itself and to audience interpretation and response in the plays and performances of Václav Havel (Czechoslovakia), Theatre of the Eighth Day (Poland) and Autoperforationsartisten (East Germany). Further, these chapters demonstrate the significant differences in the ways dissident theatre and performance was conceptualised and staged. This thesis also analyses similarities in the theoretical and philosophical motivations for the work of the artists, and the development of ‘second’ or ‘parallel’ societies as a result of the performances. ACKNOWLEDGEMENTS I would like to acknowledge and thank my supervisor Dr. Rose Whyman for her support, patience and guidance throughout this process; for allowing me the space to develop the ideas and themes of this thesis as I researched and wrote. I would also like to thank my second supervisor Dr. Eleftheria Ioannidou who viewed my writing with a fresh perspective, asked interesting questions of my work, and inspired me to look in new directions, examine new theories, and broaden my ways of thinking. A heartfelt thanks Else Gabriel, Via Lewandowsky, Angela Richter, Matthias Bauer, and Verena Kyselka for taking the time to speak with me. You have provided unique and invaluable insight into an under-researched area, and gave me the opportunity to experience the lives of East German artists through your words. Further I would like to thank the DAAD for providing me, through their sponsorship, the ability to travel to Germany and conduct these interviews. To my mother who has always encouraged me to go further, learn more, and educate myself. You have offered the emotional and financial support I needed to pursue this degree, and have always believed that I could do it! And to all of members of my family who have offered such love and strength to me. To Richard Dhillon who, through his friendship and kindness, as well as his willingness to read endless drafts and chat over innumerable cups of coffee has kept me going over the years, challenged me to consider new questions and perspectives, and has made me a better writer and researcher. And to Amy Ryder for all of her optimism, challenging questions, reassurance, and love. Your persistence in getting me to talk through and explain my work, your continual belief in me and my work, and your patience with all of my false-starts, confusions and doubts has given me the strength and the motivation to complete this project, even when I felt it would never be possible. I love you sweetheart! Table of Contents INTRODUCTION .................................................................................................................. 1 Scope and Reasoning .......................................................................................................... 1 Selection of Material ......................................................................................................... 12 Structure of the Thesis ...................................................................................................... 17 Contributions to the Field ................................................................................................. 22 CHAPTER 1: CONTEXT AND HISTORY ........................................................................ 24 Introduction ....................................................................................................................... 24 Anglo-American Political Theatre .................................................................................... 27 Piscator and Brecht ....................................................................................................... 29 A Spectrum of Anglo-American Political Theatre ....................................................... 32 Commonalities in Anglo-American Political Theatre .................................................. 37 Between Eastern Bloc and Anglo-American Theatre ................................................... 41 Dissident Theatre .............................................................................................................. 43 Historical Context ......................................................................................................... 43 Censorship, Systems of Control, and Methods of Subversion ..................................... 70 Key Differences between Anglo-American Political and Eastern Bloc Dissident Theatre ...................................................................................................................................... 77 Commonalities in Eastern Bloc Theatre ....................................................................... 83 Conclusion ........................................................................................................................ 99 CHAPTER 2: CZECHOSLOVAKIA ................................................................................. 101 Havel: An Introduction ................................................................................................... 101 Influences and the Development of a Style .................................................................... 111 Expressionism ............................................................................................................. 116 Absurdism ................................................................................................................... 120 The Garden Party ........................................................................................................... 134 Changes in Perception: The Warsaw Pact and Impact of Normalisation ....................... 147 The ‘Vanek’ Plays .......................................................................................................... 152 Charter 77 and Imprisonment ......................................................................................... 162 Conclusion ...................................................................................................................... 166 CHAPTER 3: POLAND ..................................................................................................... 167 Introduction ..................................................................................................................... 167 Pre- Cold War Polish Theatrical History ........................................................................ 171 Stalinist Policies and the Polish October ........................................................................ 179 The 'Theatrical October' .............................................................................................. 183 Theatre of the Eighth Day: Influences and Development ............................................... 190 Training in ‘Poor Theatre’ .......................................................................................... 191 1968: Evolution of a New Style .................................................................................. 194 Plays and Experiences of the 1970s ................................................................................ 203 In One Breath .............................................................................................................. 206 Other Plays of the 1970s ............................................................................................. 213 Solidarity and Martial Law ............................................................................................. 222 Report from a Besieged City ....................................................................................... 234 Further Restriction and Exile .......................................................................................... 239 Conclusion .....................................................................................................................