International Journal of English Literature and Social Sciences Vol-6, Issue-3; May-Jun, 2021 Journal Home Page Available: https://ijels.com/ Journal DOI: 10.22161/ijels Peer-Reviewed Journal The Art of Uncertainty: A Scrutiny in Theatre of Michael Frayn Mohammadi, Midia MA in English Literature, University of Tehran, Iran. Received: 02 Apr 2021; Received in revised form: 03 May 2021; Accepted: 28 May 2021; Available online: 11 Jun 2021 ©2021 The Author(s). Published by Infogain Publication. This is an open access article under the CC BY license (https://creativecommons.org/licenses/by/4.0/). Abstract— The central idea upon which plays of Micheal Frayn are established is that a text or event is reborn and reconstructed every time it is recited or recalled. He sublimated history, physics, and various dramatic techniques into splendid drama to reflect upon the dilemmas thrown to the human in today’s world of indeterminacy. It will be explored how Frayn has plied ‘uncertainty principle’ to drama with a distance from Becket and Brecht by analyzing three plays. Furthermore, his expressed perspective on the Brechtian notion of the ‘alienation effect’ is discussed. The plays chosen for this article areNoises Off (1982), Audience (1991), and Copenhagen (1998). Keywords— Uncertainty, Interdisciplinary Study, Textual Fluidity, Micheal Frayn. I. INTRODUCTION Michael Frayn, the English novelist, and Modern physics came to the twentieth century as a shock playwright who has studied moral science at Cambridge, with declaring relativity and the ‘uncertainty principle.’ It has earned a reputation for writing various plays and was not surprising that the nihilism absorbed the novels in different styles and genres. While Frayn’s indeterminacy as in its bosoms to expose the futility of techniques are not so novel in essence, he has made life, and playwrights like Beckett plied that notion to life, idiosyncratic alterations to the concepts. He regards drama drama, and more importantly, to self. While modern as a live entity that shapes itself in every performance or physics continued shattering the deeply ingrained previous rehearsal since the texts or events cannot be definite and ideas in the human mind, the paralyzing gloom of the are born every time they are recited or recalled. He once twentieth century remained in the past, and as writers stated in an interview on philosophy and writing that “a lot moved toward the twenty-first century, they kept the of characters in plays don’t understand themselves – this is i uncertainty of life with them but repelled the despair their problem.” The statement expresses how he believes surrounding it. The difference came from experience. in the ‘uncertainty principle’ that conforms to character Despite the long path of civilization that the twentieth- fluidity that runs subtly throughout his work. He believes century man took, he was still too naive and could not that no play would exist without the audience, and it would make peace with all the disastrous events shattering all his be impossible to have a fixed performance since people ideas. The twenty-first-century authors were not as angry and characters are made of subatomic particles, which due as their previous generations; they had accepted the new to Heisenberg’s ‘uncertainty principle,’ would never be world’s ways and made their peace with the uncertainty in fixed or predictable. However, Frayn does not regard life. Among the ashes of the Beckettian paralysis of uncertainty as a tragic element in modern man’s life but modern man and the Brechtian call for political activism finds an opportunity to make entertaining comedy out of through plying the ‘alienation effect,’ a Fraynian phoenix the fact. Frayn is famous for expressing the most profound emerged, which had absorbed both of them. Frayn’s works philosophical thoughts in his comedies. Noises Off (1982), reflected the indeterminacy yet did not find it repulsive or was written and constructed upon the notion that the dark. performance is never fixed. Later, Frayn took it further in IJELS-2021, 6(3), (ISSN: 2456-7620) https://dx.doi.org/10.22161/ijels.63.33 245 Mohammadi, Midia The Art of Uncertainty: A Scrutiny in Theatre of Michael Frayn Audience (1991) by implying that not only the known about the structure and workings of performance but even the text changes every time it is the brain, any more than semantic questions read. He also added the idea that there would be no play can be resolved by looking at the machine without the audience where he adopted the Saussurian code of a computer. And since, according to notion that the “sign” and “signified” have an arbitrary the so-called ‘Copenhagen Interpretation’ of relationship. He takes drama and performance to a quantum mechanics—the interconnected set subjective stance where the audience, as well as the drama of theories that was developed by group, are responsible for the production of a play or, to be Heisenberg, Bohr, and others in the more accurate, for the play to exist. In one of his most twenties—the whole possibility of saying or celebrated plays,Copenhagen (1998), he affirms that not thinking anything about the world, even the only a play but also an event in life cannot be accurately most apparently objective, abstract aspects of recalled even by the ones who were a part of that in the it studied by the natural sciences, depends beginning. In this celebrated historical play, Bohr and upon human observation, and is subject to the Heisenberg, the fathers of ‘uncertainty, try to recall an limitations which the human mind imposes, event in 1941, and they can never finally reach a this uncertainty in our thinking is also consensus. fundamental to the nature of the world. As stated by Heisenberg in the preface of Physics II. SCIENCE AND LITERATURE and Beyond (1969), ‘Modern atomic physics has thrown fresh light on basic philosophical, ethical and political Science and literature, experiments and imagination, have problems.’ In order to speculate the influence of the walked hand in hand in a dialogical process for centuries. ‘uncertainty principle’ on art and drama in the Since the emergence of empiricism in seventeenth-century twentiethcentury, it would be necessary to explain it England and the creation of new sciencebased on briefly. It would also be essential to see how different experiments, many texts have applied human’s accurate playwrights plied the principle in their idiosyncratic ways. knowledge to literary works, and many of them have Britannica has defined the ‘uncertainty principle’ as the foretold new technologies to come. While science and indeterminacy in citing the position and velocity of a technology landed the first man on the moon finally in the particle or object even in theory. In simpler words, if we twentieth century, reaching the moon and discovering new know a particle and its behaviour well enough, the colonies of creatures on other planets was not far from the calculations will show us some probabilities for where imagination of scientists such as Joannes Kepler (1571- things are situated and how they will behave. There is no 1630) and writers like Bishop Francis Godwin (1562- way to precisely calculate the particle’s position or 1633). Kepler’s Somnium (=The Dream), which was velocity, and ironically, the more accurately we measure published posthumously in 1634, sent him to the moon to one of these values, the less we know the other. Quantum find habitants there and Godwin’s the Man in the Moone uncertainty aided Derrida in shattering the transcendental (1638) explored a voyage to the moon and affirmed the signified and contributed to deconstructive approaches that idea of extra-terrestrial life. Literature and science change attempted to eliminate the discriminative binary the world and push it towards progression while they oppositions. Derrida assumes that a ‘cloud of virtual affect and influence each other as well as the economic, alternate signs’ (Argyros, 36) are around every word. social, and political structures. The influence of modern These virtual elements can ‘pop into existence at any physics and ‘uncertainty principle’ on art and drama in the moment in the reader’s mind’(36); therefore, the stability twentieth century is nevertheless an outcome of the era’s of the text becomes a myth. Before quantum physics, the radical scientific and political changes. In the ‘Postscript fundamental forces had provided studies with a decidable of Copenhagen’ (1998), Frayn states: background. Thus, quantum uncertainty leads postmodern What the uncertainty of thoughts does and poststructural thinkers to capture the world as a flux of have in common with the uncertainty of signs and elements that cannot be determined or particles is that the difficulty is not just a interpreted. practical one, but a systematic limitation Another theory that contributed to the uncertainty is which cannot even in theory be the ‘principle of complementarity’ established by Bohr, circumvented. It is patently not resolved by which states that the behaviour of such phenomena as light the efforts of psychologists and psycho- and electrons, is sometimes wavelike and sometimes analysts, and it will not be resolved by particle-like (Britannica) that can lead to duality. More neurologists, either, even when everything is interestingly, such particle and wave characteristics in the IJELS-2021, 6(3), (ISSN: 2456-7620) https://dx.doi.org/10.22161/ijels.63.33 246 Mohammadi, Midia The Art of Uncertainty: A Scrutiny in Theatre of Michael Frayn same large-scale phenomenon are incompatible rather than uncertainty is found when the unnamed protagonist of The complementary. This could also be regarded in two ways: Unnamable (1958)cannot locate an “I.” To analyse this, First, it is a complication of another complicated principle Uhlmann puts the words in “Bohr’s notion of which is very much like the modern world in the twentieth complementarity and/or Heisenberg’s Uncertainty century.