Performance Interventions
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1 Performance Interventions Series Editors: Elaine Aston, University of Lancaster, and Bryan Reynolds, University of California, Irvine Performance Interventions is a series of monographs and essay collections on theatre, performance, and visual culture that share an underlying commitment to the radical and political potential of the arts in our contemporary moment, or give consideration to performance and to visual culture from the past deemed crucial to a social and political present. Performance Interventions moves transversally across artistic and ideological boundaries to publish work that promotes dialogue between practitioners and academics, and interactions between performance communities, educational institutions, and academic disciplines. Titles include: Alan Ackerman and Martin Puchner (editors) AGAINST THEATRE Creative Destructions on the Modernist Stage Elaine Aston and Geraldine Harris (editors) FEMINIST FUTURES? Theatre, Performance, Theory Maaike Bleeker VISUALITY IN THE THEATRE The Locus of Looking Alison Forsyth and Chris Megson (editors) GET REAL Documentary Theatre Past and Present Lynette Goddard STAGING BLACK FEMINISMS Identity, Politics, Performance Leslie Hill and Helen Paris (editors) PERFORMANCE AND PLACE D.J. Hopkins, Shelley Orr and Kim Solga PERFORMANCE AND THE CITY Amelia Howe Kritzer POLITICAL THEATRE IN POST-THATCHER BRITAIN New Writing: Melissa Sihra (editor) WOMEN IN IRISH DRAMA A Century of Authorship and Representation Performance Interventions Series Standing Order ISBN Hardback Paperback (outside North America only) You can receive future titles in this series as they are published by placing a standing order. Please contact your bookseller or, in case of difficulty, write to us at the address below with your name and address, the title of the series and one of the ISBNs quoted above. Customer Services Department, Macmillan Distribution Ltd, Houndmills, Basingstoke, Hampshire RG21 6XS, England
2 Also by Alison Forsyth Forsyth, A. (2002) Gadamer, History and The Classics: Fugard, Marowitz, Berkoff and Harrison Rewrite the Theatre (New York: Peter Lang).
3 Get Real Documentary Theatre Past and Present Edited by Alison Forsyth and Chris Megson
4 Introduction, selection and editorial matter Alison Forsyth and Chris Megson 2009 Individual chapters contributors Softcover reprint of the hardcover 1st edition All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6-10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act First published 2009 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number , of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin s Press LLC, 175 Fifth Avenue, New York, NY Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave and Macmillan are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN ISBN (ebook) DOI / This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library. A catalog record for this book is available from the Library of Congress
5 In loving memory of John Johnstone Forsyth and Thomas Furbisher
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7 Contents Acknowledgements Notes on Contributors ix x Introduction 1 Alison Forsyth and Chris Megson 1 The Promise of Documentary 6 Janelle Reinelt 2 Mediating the 1930s: Documentary and Politics in Theatre Union s Last Edition (1940) 24 Ben Harker 3 History in the Driving Seat: Unity Theatre and the Embrace of the Real 38 Colin Chambers 4 The Documentary Body: Theatre Workshop to Banner Theatre 55 Alan Filewod 5 Living Simulations: The Use of Media in Documentary in the UK, Lebanon and Israel 74 Carol Martin 6 Looking for Esrafil: Witnessing Refugitive Bodies in I ve got something to show you 91 Alison Jeffers 7 Remembering the Past, Growing Ourselves a Future : Community-Based Documentary Theatre in the East Palo Alto Project 107 Liberty Smith 8 Ngapartji Ngapartji: Telling Aboriginal Australian Stories 122 Maryrose Casey 9 Performing Trauma: Race Riots and Beyond in the Work of Anna Deavere Smith 140 Alison Forsyth vii
8 viii Contents 10 History, Memory and Trauma in the Documentary Plays of Emily Mann 151 Attilio Favorini 11 When Heroes Fall: Doug Wright s I Am My Own Wife and the Challenge to Truth 167 Nels P. Highberg 12 The Performance of Truth and Justice in Northern Ireland: The Case of Bloody Sunday 179 Carole-Anne Upton 13 Half the Picture: A Certain Frisson at the Tricycle Theatre 195 Chris Megson 14 Verbatim Theatre in South Africa: Living History in a Person s Performance 209 Yvette Hutchison 15 The Broken Tradition of Documentary Theatre and Its Continued Powers of Endurance 224 Derek Paget Bibliography 239 Index 249
9 Acknowledgements We would like to extend special thanks to Steven Hall, Paula Kennedy and Kate Haines at Palgrave for their invaluable help in guiding this book, with care and commitment, through the commissioning and publication process, and to Elaine Aston and Bryan Reynolds, series editors, for their support of our project. Thanks also to Aurora Crowley and Victoria Hanna for allowing us to use the cover image. The anonymous readers of the manuscript gave us helpful feedback and we are grateful to them. We also acknowledge with gratitude the support and encouragement of our colleagues and students at the University of Aberystwyth and Royal Holloway College, University of London. Above all, we would like to thank our contributors for their immense patience, generosity and infectious passion for the subject: our correspondence with them over many months has been enriching and stimulating. Cover image Victoria Hanna in Signals performed at The Kitchen in NYC (2005). Photo by Aurora Crowley, ix
10 Notes on Contributors Maryrose Casey is Lecturer at the Centre for Theatre and Drama Studies at Monash University. Her publications include the multi-award winning Creating Frames: Contemporary Indigenous Theatre (UQP, 2004). She is currently working on a book documenting indigenous Australian theatre practices. Colin Chambers is Kingston University s first Reader in Drama. Formerly a journalist and theatre critic, he was Literary Manager of the Royal Shakespeare Company from 1981 to He edited the Continuum Companion to Twentieth Century Theatre (2002) and his books include The Story of Unity Theatre (1989), Peggy (the award-winning biography of play agent Margaret Ramsay, 1997), Inside the Royal Shakespeare Company (2004) and Here We Stand: Politics, Performers and Performance Paul Robeson, Isadora Duncan and Charlie Chaplin (2006). Attilio Favorini founded the Department of Theatre Arts and the Three Rivers Shakespeare Festival at the University of Pittsburgh. His publications include Voicings: Ten Plays from the Documentary Theater (1995), numerous articles and two plays. He recently completed Memory in Play: from Aeschylus to Sam Shepard (Palgrave Macmillan, 2008). Alan Filewod is Professor of Theatre Studies at the University of Guelph. His books include Collective Encounters: Documentary Theatre in English Canada (1987), Performing Canada : The Nation Enacted in the Imagined Theatre (2002), and, with David Watt, Workers Playtime: Theatre and the Labour Movement since 1970 (2001). Alison Forsyth is Lecturer in Theatre Studies at Aberystwyth University. She researches into adaptations and staging the real. Her publications include Gadamer, History and The Classics: Fugard, Marowitz, Berkoff and Harrison Rewrite The Theatre (2002). Current research projects are an anthology of adaptations and The Trauma of Articulation: Arthur Miller s Holocaust Plays. Ben Harker is Lecturer in English and Cultural Studies at the University of Salford. His first book, Class Act: the Cultural and Political Life of Ewan MacColl, was published by Pluto in He is now writing a book about culture and the popular front. x
11 Notes on Contributors xi Nels P. Highberg is Assistant Professor in the Department of Rhetoric and Professional Writing at the University of Hartford, where he also serves as Director of Gender Studies. His writing has appeared in Medical Humanities Review and other publications. Yvette Hutchison is Associate Professor in the Department of Theatre and Performance Studies at the University of Warwick. Her research focuses on Anglophone African theatre and history. She is associate editor of South African Theatre Journal and the African Theatre series. Her current project is a book entitled Performance and the Archive of Memory. Alison Jeffers is Teaching Fellow in Drama at the University of Manchester. She is in the final stages of completing a PhD entitled Theatre and Performance about, with and by Refugees and Asylum Seekers in the UK. Carol Martin PhD is Associate Professor of Drama at Tisch School of the Arts, New York University. Recent books include The Dramaturgy of the Real on the World Stage (forthcoming Palgrave) and Global Foreigners (co-edited with Saviana Stanescu, Seagull Books). Martin is General Editor of In Performance devoted to post 9/11 plays from around the world (Seagull Books). Chris Megson is Senior Lecturer in Drama and Theatre at Royal Holloway College, University of London. He is currently writing a book on the playwright Sarah Kane and has published a range of essays on the politics of contemporary British playwriting and performance. Derek Paget is Reader in Theatre and Television, University of Reading and Principal Investigator for the AHRC Acting with Facts research project. He wrote True Stories?: Documentary Drama on Radio, Screen and Stage (1990) and No Other Way To Tell It: Dramadoc/Docudrama on Television (1998, second edition forthcoming 2009). Janelle Reinelt is Professor of Theatre and Performance at the University of Warwick. She was President of the International Federation for Theatre Research (2004 7), former Vice President for Research and Publications of the Association for Theatre in Higher Education (ATHE), and former editor of Theatre Journal. Her books include After Brecht: British Epic Theatre and, with Elaine Aston, The Cambridge Companion to Modern British Women Playwrights. Liberty Smith manages the National Service-Learning Clearinghouse, the world s largest repository of information on service-learning and
12 xii Notes on Contributors campus-community educational partnerships. She researches and publishes on the intersection of personal relationships, artistic and intellectual collaborations, and political impact in US and Latin American women s and queer culture. Carole-Anne Upton is Professor of Drama at the University of Ulster. Her research interests are in the areas of modern Irish drama, postcolonial theatre, ethics and performance, and theatre directing. She has also published on translation for performance and edited Moving Target: Theatre Translation and Cultural Location (2000).
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