Theatre and Human Rights after 1945 by Palgrave Macmillan Humanities

Copyrighted material – 9781137526601

Contents

Acknowledgements

Introduction

Breaking Bad: Capital as Cancer

In Time: The First Hollywood Movie of the Occupy Wall Street Era

The Walking Dead: The Archetype of the Zombie in the Modern Epoch

Let Me In: The Figure of the Vampire as Kantian Noumenal

True Detective and Capitalist Development in Its Twilight Phase

Tupac Shakur: History’s Poet

Vincent van Gogh

The Song of Achilles: How the Future Transforms the Past

Barbara Kingsolver’s The Lacuna and the Nature of the Historical Novel

Balzac’s Women and the Impossibility of Redemption in Cousin Bette

107

The Wife: A Study in Patriarchy

120

The Vigilante in Film: The Movement from Death Wish, to Batman, to Taxi Driver

128

A Mirror into Our World: The Radical Politics of Game of Thrones

134

Harry Potter and the Modern Age

141

The Hunger Games Trilogy – Art for the Occupy Era

153

The Politics of Deduction: Why Has Sherlock Holmes Proven So Durable?

162

vii

Copyrighted material – 9781137526601

Copyrighted material – 9781137362292

Contents

Acknowledgements

Notes on Contributors

Introduction: Theatre and the Rise of Human Rights Mary Luckhurst and Emilie Morin

Part I Colonial Legacies and the Unspeakable 1 Unspeakable Tragedies: Censorship and the New Political Theatre of the Algerian War of Independence Emilie Morin

2 Beyond Articulation: Brian Friel, Civil Rights, and the Northern Irish Conflict Michael McAteer

Part II Unspeakability and Ethnicity 3 ‘Lapsing into Democracy’: Magnet Theatre and the Drama of Unspeakability in the New South Africa Mark Fleishman

4 The Great Australian Silence: Aboriginal Theatre and Human Rights Maryrose Casey

Part III Returning Histories, Listening, and Trauma 5 Disappearing History: Listening and Trauma in Ariel Dorfman’s Death and the Maiden Cathy Caruth

6 Hungry Ghosts and Inalienable Remains: Performing Rights of Repatriation Emma Cox

110

7 Representing Genocide at Home: Ishi, Again Catherine M. Cole vii

Copyrighted material – 9781137362292

128

Copyrighted material – 9781137362292 viii Contents

Part IV Theatres of Advocacy and Western Liberalism 8 The Politics of Telling and Workers’ Rights: the Case of Mike Daisey Carol Martin

153

9 Gender-based Violence and Human Rights: Participatory Theatre in Post-Genocide Rwanda Ananda Breed

171

10 Jalila Baccar and Tunisian Theatre: ‘We Will Not Be Silent’ Marvin Carlson

190

Part V Militancy and Contemporary Invisibilities 11 Defixio: Disability and the Speakable Legacy of John Belluso Michael M. Chemers

209

12 Theatre and Elder Abuse Mary Luckhurst

228

Select Bibliography

241

Index

244

Copyrighted material – 9781137362292

Introduction: Theatre and the Rise of Human Rights Mary Luckhurst and Emilie Morin

It may be that, in keeping with global political aspirations, the twenty-first century will become the century of human rights.1 As many voices advocate as oppose such an aspiration, and the worlds of theatre and performance are no exception: the empowering qualities of theatre have been acknowledged by many, especially in relation to vulnerable communities.2 In the wake of the human rights legislation that emerged after World War II and the United Nations’ 1948 Universal Declaration of Human Rights, theatre and performance artists have increasingly promoted specific human rights issues in their work and sought to establish special ties with various forms of human rights advocacy.3 The theatre artists who are connected with human rights are myriad, and some of the most celebrated include Augusto Boal (Brazil), renowned for his ‘Theatre of the Oppressed’ practices; Ariel Dorfman (Argentina); Athol Fugard and Yael Farber (South Africa); Václav Havel (Czech Republic); Harold Pinter (Great Britain); Nawal El Sadaawi (Egypt); Farzaneh Aghaeipour (Iran); Marcie Rendon and Cherrie Moraga (United States); Mangai (India); Nighat Rizvi, Madeeha Gauhar and Shahid Nadeem (Pakistan); and Juliano Mer Khamis, who was murdered in 2011 outside his theatre in the Palestinian refugee camp in Jenin, on the West Bank. Many plays and performance pieces have been celebrated for the human rights issues they interrogate. In the West the best-known include Peter Weiss’s The Investigation, about the atrocities at the Auschwitz death camp; Moisés Kaufman’s The Laramie Project, about the murder of Matthew Shepard and homophobic attitudes in the United States; Richard Norton-Taylor’s The Colour of Justice, about the racially motivated murder of Stephen Lawrence and police corruption; Anna Deveare Smith’s Fires in the Mirror and Twilight: Los Angeles 1992, about race riots and racist police attitudes in the United States; My Name is 1

Copyrighted material – 9781137362292

Copyrighted material – 9781137362292 2

Theatre and the Rise of Human Rights

Rachel Corrie, directed by Alan Rickman, to honour the death of Rachel Corrie, a peace activist killed by an Israel Defence Force’s bulldozer in the Gaza Strip in 2003; and Nirbhaya, a collective work by Ensemble, facilitated by Yael Farber, and inspired by international revulsion at the gang rape and murder of twenty-three-year-old Jyoti Singh Pandey in Delhi in 2012. All of these fall into the categories of documentary or verbatim plays and allow for minority voices to be heard and for the exact words of the speakers, the living and the dead victims, to be transmitted to audiences. In recent times, such documentary works have become the main vehicle of theatrical protest and campaigning politics on main stages in the West. Other dramatic forms that foreground a single human rights issue or celebrate a particular human rights champion are just as prevalent, however. Interesting examples include Brian Clark’s Whose Life Is It Anyway?; Judith Thompson’s Palace at the End; Lynn Nottage’s Ruined; Pinter’s One for the Road and Mountain Language; Jeff Stetson’s The Meeting, which imagines a conversation between Malcolm X and Dr Martin Luther King; and two musicals currently playing in London’s West End: The Scottsboro Boys, about race issues and the right to a fair trial, and Made in Dagenham, about equal pay for women. Canonical plays have also played a role in the rise of the dialogue between theatre and human rights. The plays of Shakespeare and Samuel Beckett have inspired prisoners of war and prisoners of conscience in many countries: indeed Shakespeare was a source of sustenance for Nelson Mandela during his twenty-seven years of incarceration on Robben Island.4 Beckett famously experimented with physical ways of depicting the philosophically unspeakable through a reinvention of the dimensions of stage action, silence and waiting. The capacity of embodied performance to invoke the ineffable and to dispense with the limitations of verbal signification has made it an ideal vehicle for exposing abuses against the body and the subject beyond these dramatic contexts. The rise of dance theatre since the 1970s is also significant in relation to the expression of human rights and human suffering. In particular, Pina Bausch created extraordinarily moving repetitive choreographies to try and express the unspeakability of trauma in post-Holocaust Europe. Bausch’s work has been a major influence on playwrights such as Caryl Churchill and on theatre companies such as Frantic Assembly, whose own explorations of languages of movement versus the struggle for verbal expression are well known. Numerous theatre companies have come into existence since the 1960s on the basis of a specific rights agenda and certain issues have

Copyrighted material – 9781137362292

Copyrighted material – 9781137362292 Mary Luckhurst and Emilie Morin

been addressed on stage very effectively, particularly women’s rights; gay and lesbian rights; race issues; mental health issues; prisoners’ rights; disability rights; anti-war protests; child sexual abuse; human trafficking; and issues connected with political oppression, imperialism, genocide and torture. Performance has been an especially powerful medium for advocating rights connected with the human body: theatre companies Graeae in Britain, Back to Back in Australia, and Theater Hora in Switzerland continue to create pioneering works with physically and mentally disabled actors. Human rights organizations and charities have long recognized the potency of live performance to convey a message to raise awareness and many kinds of drama including verbatim projects, puppet theatre, dance, song and indigenous forms of storytelling are deployed across the world to educate communities about health, hygiene, sexual equality and other issues. Indeed, applied theatre techniques have developed at an extraordinary rate in developing countries and are now recognized by the UN and local governments to be an important tool in helping communities to transition to a new situation, often in the wake of conflict. Human rights advocacy comes, of course, at a higher price for some more than others. Many individuals and companies continue to work at considerable risk to themselves, notably the Belarus Free Theatre, the Tibetan Liberation Theatre, Rah-e Sabz in Afghanistan, Thukhuma Khayeethe in Myanmar and Amakhosi Theatre in Zimbabwe. There are many countries where making protest theatre can bring about an individual’s ‘disappearance’ or death, and Russia, China, North Korea and Afghanistan currently feature prominently in this regard. Saudi Arabia prohibits both public and private theatre as well as film. These examples are representative of the connection between the rise of a theatre of human rights and politicized discourses about social inequality. It is a connection that is becoming increasingly complex in the twenty-first century, at a time when sharpening global inequalities pose serious political and ethical problems. Applied theatre practitioners often have to negotiate these questions: indeed, much recent work in applied theatre is informed by human rights activism and by the interrogation of human rights discourses.5 The work of James Thompson, Helen Gilbert, Joanne Tompkins, Helen Nicholson, Michael Balfour and Jenny Hughes, among others, has significantly advanced and complicated the human rights debates around applied theatre.6 For D. Soyini Madison, performance and activism are ‘mutually constitutive’, by virtue of the ways in which they transform public space into a communal space, and make ‘the urgency of dissent and the rhetoric of

Copyrighted material – 9781137362292

Copyrighted material – 9781137362292 4

Theatre and the Rise of Human Rights

protest [ . . . ] more coherent, poignant, and accessible through the symbolic’.7 Madison argues that this distinctive symbiosis of performance and activism is vital, precisely because it offers a means of resistance against the retreat of social rights in education, health, labour and social justice – against ‘the machinations of neoconservatism and a corporate, global political economy that affects small stories [ . . . ] of how human rights and social justice are fought for and defended’.8 Madison’s study of activism and performance cultures in Ghana shows that it is no longer desirable or indeed possible to consider contemporary debates about social justice without interrogating the political and economic privileges upon which neoliberal policies rely. Just as ideals of social justice have become subject to radical forms of scrutiny that forbid depoliticization, the relationship between theatre and human rights has become deeply controversial and fraught with ethical dilemmas. Why does live performance claim to have such special purchase on the notion of human rights? On what kinds of political terrain do theatres of human rights operate? What happens when theatre practitioners have to negotiate between culturally very different notions of human rights, or when Western human rights agendas and neoliberal doctrines appear to take precedence over the more basic issues of human survival? What economic and political circumstances make theatre and performance alternately empowering and destructive tools? In this book, we wish to move beyond a simple presentation of the complicity between theatre and human rights, and to interrogate the mechanisms that made these developments possible. The explorations conducted within applied theatre as well as outside it, in the realms of political philosophy and critical theory, offer important insights into these mechanisms.

Human rights and their subjects Questions about the rise of theatres of human rights become even more prescient once theatre and performance are set in dialogue with debates around ‘the right to have rights’, the memorable formulation offered by Hannah Arendt in The Origins of Totalitarianism (1951). In Arendt’s words, ‘We became aware of the existence of a right to have rights [ . . . ] and a right to belong to some kind of organized community, only when millions of people emerged who had lost and could not regain these rights because of the new global political situation. [ . . . ] Only with a completely organized humanity could the loss of home and political status become identical with expulsion from humanity altogether.’9 For Arendt, human rights – a ‘paradox of contemporary politics’ filled with

Copyrighted material – 9781137362292

Copyrighted material – 9781137362292 Mary Luckhurst and Emilie Morin

‘poignant irony’10 – are embedded in intractable tensions involving the assumed inalienability of human rights, the unenforceable nature of the ideals championed by the French and American Revolutions, and the deteriorating political and material situations within which the rightless have historically found themselves, in the twentieth century in particular. In her reading, the political questions posed by human rights cannot be disentangled from the paradoxes surrounding their political efficacy. Arendt’s influential reading continues to stimulate intense debate. Notably, Giorgio Agamben, Jacques Rancière and Slavoj Žižek have each returned to the questions raised by Arendt; all point to the contemporary ubiquity of the term ‘human rights’, to its political dangers, and to the rise of globalized experiences of extreme suffering, starvation and war.11 Agamben, Rancière and Žižek are highly influential in theatre studies. It is, however, evident that activist theatre artists and humanitarians working on the ground in pressing situations cannot always afford the luxury of philosophical debate. Yet the perspectives of Agamben, Rancière and Žižek on Arendt’s argument offer precious insights into the uncertainties about human rights that pervade contemporary theatre work. In a response to Arendt, Rancière draws attention to the need to return to first principles, to establish ‘who is the subject of the rights of man’ at a time when ‘human rights’ has become a ubiquitous and slippery term, something that philosophically ‘appear[s] actually empty’: And when [human rights] are of no use, you do the same as charitable persons do with their old clothes. You give them to the poor. Those rights that appear to be useless in their place are sent abroad, along with medicine and clothes, to people deprived of medicine, clothes, and rights. It is in this way, as the result of this process, that the Rights of Man become the rights of those who have no rights, the rights of bare human beings subjected to inhuman repression and inhuman conditions of existence. They become humanitarian rights, the rights of those who cannot enact them, the victims of the absolute denial of right. For all this, they are not void. Political names and political places never become merely void. The void is filled by somebody or something else. The Rights of Man do not become void by becoming the rights of those who cannot actualize them. If they are not truly ‘their’ rights, they can become the rights of others.12 Responding to Rancière, Žižek redefines the idea of ‘universal human rights’ as ‘the precise space of politicization proper’, all-too-often irreparably mired in ‘the “post-political” play of negotiation of

Copyrighted material – 9781137362292

Copyrighted material – 9781137362292 6

Theatre and the Rise of Human Rights

particular interests’.13 Similarly, Agamben’s analysis of ‘bare life’ – a history of political exclusion – contests contemporary attempts to separate humanitarianism from politics as ‘the extreme phase of the separation of the rights of man from the rights of the citizen’. Agamben deplores the fact that ‘humanitarian organizations – which today are more and more supported by international commissions – can only grasp human life in the figure of bare or sacred life, and thus ironically maintain a secret solidarity with the very powers they ought to fight’.14 This book works on both macro- and micro-political levels. It brings ideas, ideals and debates about human rights into dialogue with theatre and performance, and examines the ways in which playwrights, theatre companies and theatre practitioners and facilitators have invoked and negotiated human rights discourses since 1945. We have deliberately juxtaposed commercial mainstream theatre models with fringe applied theatre and participatory theatre models, because human rights agendas are enmeshed in the whole spectrum of dramatic forms and performance contexts. In this book, the concept of the unspeakable provides the lens through which the contributors consider the deployment of human rights discourses in dramatic representations of oppression and suffering, and the relation between theatre, censorship, genocide, state policing, torture and other human rights violations. Censorship is always present in the shadows of political theatre, not least because live performance has a long relationship with censorship and state control (in the United Kingdom, for example, state censorship was lifted only in 1968). The contributors discuss plays and performances conceived, written, published or performed in economically and politically precarious circumstances, or dealing with economic and political precarity as their subject matter. The chapters draw attention to the discursive, political and performative connections between, on the one hand, forms of unspeakability deployed in theatre and performance and, on the other, human rights legislation, debates and agendas. As a live medium, theatre is not limited to the spoken word. It is inherently tied to the unspoken and the unspeakable: it exploits silence, site, the body, gesture and objects in order to speak to, for and against. By connecting directly with the communities to which they speak, theatre and performance can interrogate anew the convention of representing human rights abuses as unspeakable, the unspoken expectations and assumptions that drive forms of human rights advocacy, and the forms of unspeakability at the heart of certain political histories. Last but not least, theatre and performance offer the possibility of questioning culturally universalizing narratives about human rights, since they also

Copyrighted material – 9781137362292

Copyrighted material – 9781137362292 Mary Luckhurst and Emilie Morin

offer a unique means of reaching communities in which information about rights may be a matter of life and death.

Tropes of unspeakability The term ‘unspeakable’ is not an innocuous term: it has acquired a distinctive weight in the wake of the Nuremberg trials, the 1948 Universal Declaration of Human Rights, and the 1949 Geneva Conventions. This is precisely what makes it a subject deserving close analysis in relation to theatre and performance. A large body of historical studies on torture and state terror, war crimes and genocide now utilizes ‘unspeakable’ as a key term, to be investigated with care and situated within the context of its historical emergence in human rights debates.15 In literary studies also, warnings have been issued about the political polysemy of the unspeakable. Naomi Mandel, for example, has warned against facile evocations of horror and barbarity as escaping categorization, articulation and representation; she denounces the ‘rhetorical performance of evoking the unspeakable – identifying the limits of representation, comprehension, aesthetics and speech – [that can] masquerad[e] as ethical practice’.16 She defines the unspeakable as a term that comes with ‘its own seductive eloquence’, particularly in writing about the Holocaust and slavery; as ‘the rhetorical invocation of the limits of language, comprehension, representation, and thought on the one hand, and a deferential gesture toward atrocity, horror, trauma, and pain on the other’.17 In these contexts, she argues, ‘[t]he attraction of the unspeakable lies in the seeming separation it performs between the writer or the critic on the one hand and the moral problematic of her subject on the other’.18 The ‘unspeakable’ has also acquired a distinctive philosophical currency and has come to be associated with the crucial philosophical concepts of our time.19 At the heart of these developments lies the work of Giorgio Agamben, which interrogates the historical and political myths that have formed around the idea of the unsayable within the mutating tradition of apophasis in Western thought.20 In an oft-cited commentary on the legacy of the Holocaust, Agamben draws attention to the need to ‘listen to what is unsaid’, in order to combat ‘the opinion of those who would like Auschwitz to remain forever incomprehensible’.21 He stresses the necessity to think about genocide in historical and ethical terms, and – recalling Arendt’s argument on the ‘banality of evil’ in response to Adolf Eichmann’s performance as a dutiful bureaucrat during his trial in 1961 – invites a reflection on the material, technical

Copyrighted material – 9781137362292

Copyrighted material – 9781137362292 8

Theatre and the Rise of Human Rights

and bureaucratic conditions that made the Holocaust possible, on the intimacy of genocide with the ordinary, and on the ‘essential lacuna’ of witnessing, summoning the memory of Holocaust survivors who ‘bore witness to something it is impossible to bear witness to’.22 Agamben’s reflection also connects to other reflections on the unspeakable and human rights. For Theodor Adorno in particular, the unspeakable is inscribed into the post-Holocaust historical record and remains inseparable from the modern definition of genocide: What the Nazis did to the Jews was unspeakable: language has no word for it, since even mass murder would have sounded, in face of its planned, systematic totality, like something from the good old days of the serial killer. And yet a term needed to be found if the victims – in any case too many for their names to be recalled – were to be spared the curse of having no thoughts turned unto them. So in English the concept of genocide was coined. But by being codified, as set down in the International Declaration of Human Rights, the unspeakable was made, for the sake of protest, commensurable. By its elevation to a concept, its possibility is virtually recognized: an institution to be forbidden, rejected, discussed.23 Adorno’s reflection on the historicity of human rights legislation, which dates from 1953, resonates with later enquiries in a wide range of fields, from memory and trauma studies to theatre and performance studies. Vivian Patraka, for example, has pointed to the ever-increasing complexity inherent in categorizing historical horror, concluding that ‘the entire array of cultural, social, and political forces amassed to effect genocide may be historically embedded in the term Holocaust’.24 The writing of the unspeakable also involves the negotiation of fine linguistic nuances between that which is categorizable as unnameable or unsayable. Such nuances are illustrated in, for example, Ludwig Wittgenstein’s statement ‘Wovon man nicht sprechen kann, darüber muss man schweigen’ (‘Whereof one cannot speak, thereof one must be silent’) and Jacques Derrida’s response, which points to the powers of artistic expression: ‘Ce qu’on ne peut pas dire, il ne faut surtout pas le taire, mais il faut l’écrire’ (‘What cannot be said above all must not be silenced but written’).25 These tensions find further echoes in the responses to Adorno’s oft-cited affirmation that ‘to write poetry after Auschwitz is barbaric’, particularly in Sarah Kofman’s observation that ‘[i]f no story is possible after Auschwitz, there remains, nonetheless, a duty to speak, to speak endlessly for those who could not speak because to the very end they wanted to safeguard true speech against betrayal’.26

Copyrighted material – 9781137362292

Copyrighted material – 9781137362292 Mary Luckhurst and Emilie Morin

These gestures towards the unspeakable as a cipher for unresolved political issues resonate with the questions posed by other forms of writing, particularly by testimony. Robert Antelme was among the first to testify to the ethical problems surrounding the categorization of genocide and persecution as ‘unimaginable’ in The Human Race, where he described the liberation of Dachau.27 Antelme evokes the encounter between concentration camp detainees and American soldiers who offer them cigarettes and chocolate as a moment when horror became abstracted from itself: There isn’t a great deal to be said to them, the soldiers perhaps think. We liberated them. We’re their strong right arms and their rifles. But nobody has anything to talk about. It is frightful. Yes, these Germans really are worse than barbarians. Frightful, yes, frightful! Yes, truly frightful. When a soldier says something like that out loud, a few guys try to tell him what it was like. The soldier listens at first, but then the guys go on and on, they talk and they talk, and pretty soon the soldier isn’t listening anymore.28 This passage pivots upon the ‘unimaginable’: ‘a word that doesn’t divide, doesn’t restrict. The most convenient word. When you walk around with this word as your shield, this word for emptiness, your step becomes better assured, more resolute, your conscience pulls itself together.’29 Decades later, Sarah Kofman returned to this moment, and read the unimaginable as emerging from a confrontation between historical privilege and the oppressed, the dying, the persecuted.30 The process of ‘tell[ing] that which cannot, without delusion, be “communicated” ’ involves ‘[t]o have to speak without being able to speak or to be understood, to have to choke’, she writes.31

Narratives of human rights Confrontations with the limits of expression, tolerance and experience have resonances as well as difficult implications in the context of this book. The contemporary Western world is, as Luc Boltanski has pointed out, beset by a ‘crisis of pity’, which plays out in the spectatorship of distant suffering and is traversed by competing tensions between universalism, communitarianism and perceptions of authenticity.32 Boltanski defines pity as a foundational political principle, and presents the theatre as the crucial force shaping it. Returning to Aristotle’s Poetics, Saint Augustine and the Renaissance, Boltanski charts the rise of the idea of the impartial spectator sheltered from adversity, and describes

Copyrighted material – 9781137362292

Copyrighted material – 9781137362292 10

Theatre and the Rise of Human Rights

theatre as the source of long-standing rhetorical models predicated upon associations between human nature and a capacity for pity and sympathy.33 His reflection is echoed in analyses of trauma: for Didier Fassin and Richard Rechtman, it is necessary to look at the recent global shift towards the recognition of trauma and victimhood in order to understand contemporary debates about human rights.34 The term ‘human rights’ has ignited debate on other levels, about the political chronologies underlying the development of human rights discourses, and their connections to humanitarianism, post-imperialism and neoliberalism. Recent work by political theorists articulates, broadly speaking, two different positions when it comes to the historical origin of contemporary understandings of human rights. The first, led by advocates of neoliberalism such as Michael Ignatieff, situates the emergence of contemporary perceptions of human rights in the immediate post-Holocaust period, arguing that the global human rights consciousness emerged in the French and American revolutions, and came into its own with post-Holocaust legislation.35 The second school of thought refutes this connection between the contemporary foundations of human rights and eighteenth-century bills of rights, and dates the emergence of human rights discourses back to the 1970s, pointing to a deep intimacy between human rights and the rise of neoliberalism in the West.36 For Samuel Moyn, the concept of human rights is ‘the last utopia’ and yet it remains unlikely to define utopianism in the future. Moyn defines human rights as sites of deep-seated historical myths about international dialogue and as the locus of a seemingly depoliticized politics that ‘has sapped the energy from old ideological contests of left and right’.37 For Steven Hopgood, the cause of human rights is potentially the only one able to rally international support at present; however, Hopgood stresses that there is no coherent human rights movement, only institutions dependent on the intensification of capitalism and on the conceits and delusions inherited from imperialist and post-imperialist moments.38 Such understandings of human rights as a discourse intimately tied to the rise of Western liberalism can also be linked to recent work on imperialism: as Domenico Losurdo has argued, Western liberalism has been doubled by the championing of slavery and colonial expansion, and embedded in a dialectic of emancipation and dis-emancipation that has favoured genocide, mass exploitation and starvation.39 However, the post-1945 rise of political theatres interrogating colonial legacies, and conceived in contexts of national revolutions and wars of independence, provides fodder for quite a different narrative

Copyrighted material – 9781137362292

Index Aboriginal theatre, 12, 74–89 abuse, 2, 6, 11, 24, 50, 57, 75–7, 87, 128, 144, 162, 181–2, 184 child, 197: child labour, 184; child sexual abuse, 3, 15, 78, 89 elder, 14, 228–40: European Union Report on, 230; World Elder Abuse Awareness Day, 228, 236 gender-based, 171–89 ACA (Patient Protection and Affordable Care Act, US), 223 activism, 3–4, 25, 196, 226 Actor’s Theater (Louisville, KY), 126 Adorno, Theodor, 8, 17 Adult Protection (UK), 236 advocacy, 1, 3, 6, 11–13, 76–7, 87, 200, 210, 215 AEA (Action on Elder Abuse, UK), 230, 238 Afghanistan, 3 Agamben, Giorgio, 5–8, 16, 75, 110, 121, 124, 126, 130, 139, 147–8 Homo Sacer, 16, 110, 124 Means without End: Notes on Politics, 126 Sovereign Power and Bare Life, 16, 124 Age Concern Scotland, 236 Age Exchange Theatre (UK), 240 ageing body, 232–4, 239–40 Aghaeipour, Farzaneh, 1 Aïn-Isser massacre (Algeria), 31–2 Al-Bassam, Sulayman Richard III: An Arab Tragedy, 190, 200 alcohol, 27, 78, 184 alcoholism, 178, 181, 197 Algerian National Liberation Front, see FLN Algerian War of Independence, 11, 21–38 alienation effect, 45, 53, 235 Al-masrah al-jadid (Théâtre Nouveau/ New Theatre, Tunis), 192–6

ALN (Algerian National Liberation Army), 25, 29 Amakhosi Theatre (Zimbabwe), 3 American Anthropology Association, 128 American Psychological Association, 238 American Revolution, 5, 10 Amnesty International, 172 ANC (African National Congress), 12, 58–63 anger, 29, 46, 83, 87, 143, 154, 209–11, 224, 231 Antelme, Robert, 9, 22, 36 anti-war, 3, 22, 24 apartheid, 12, 57–73 Apple, 13, 153–60, 162, 166–9 applied theatre, 3–4, 6, 13–14, 16, 171, 229, 234, 236–7 Aquiline, Carlyn, 222–3, 226–7 Arabesque Festival (Washington, DC), 200 Arabic arts, 190 Arendt, Hannah, 4–5, 7, 16, 95 The Origins of Totalitarianism (1951), 4, 16, 108 the ‘rightless’, 5, 12, 94–95 Argentina, 1, 95, 108, 120 Aristotle Poetics, 9 Artaud, Antonin, 70, 73 ASF (Avocats Sans Frontières, Belgium), 176 assimilation, 21, 34, 75 Atlantic Theatre (New York), 216 Auckland Performing Arts Centre, 115 Auschwitz, 129–30 Australia, 3, 11–12, 74–89, 126 AVEGA (Association of the Widows of Genocide, Rwanda), 179 see also Rwandan genocide Avignon Theatre Festival, 196 Azeda, Hope, 173, 179

244

Copyrighted material – 9781137362292

Copyrighted material – 9781137362292 Index B’Chir, Badra, 194–5, 205 Baccar, Jalila, 14, 190–206 Araberlin, 197–8, 201, 206 ‘citizen-actress’, 197 Khamsoun, 190–1, 196, 198–201, 204, 206 Tsunami, 204, 206 Yahia Yaïch, 201–2, 206 see also Jaïbi, Fadhel; Familia Back to Back (Australia), 3 Baïlac, Geneviève, 23 Balfour, Michael, 3, 15 ‘bare life’ (Agamben), 6, 16, 110, 121–2, 124 Bausch, Pina, 2 Beautiful One Day, 77, 83–5 de Beauvoir, Simone Coming of Age, 229, 237 Beckett, Samuel, 2, 27, 34–5, 40, 47–8, 51, 54, 193, 233–4 Act Without Words I&II, 193 ‘Beckettian’, 27, 40 Endgame, 233 Krapp’s Last Tape, 47 Waiting for Godot, 48 Belarus Free Theatre, 3 Belfast Blitz, 40 Belluso, John, 14, 209–27 Body of Bourne, 214, 216 Body Pieces, 216, 226 Gretty Good Time, 214, 216 Henry Flamethrowa, 216 A Nervous Smile, 216, 219, 224, 226 The Poor Itch, 222 Pyretown, 219 Belvoir Street Theatre (Sydney, Australia), 83 Ben Ali, Zine el-Abidine, 194, 196–7, 202, 204, 206 Ben Ayad, Ali, 192–3, 205 Ben Brik, Taoufik, 197 Berlin Festspiele, 197 Bhabha, Homi, 58, 71 Bharucha, Rustom, 58, 71, 130, 147 Bishop, Claire, 175, 188 Blair, Jayson, 162 Blanchot, Maurice, 22–4, 36 Bloody Sunday (Northern Ireland), 11, 40–3, 45–6, 48

245

Boal, Augusto, 1, 189, 236 body parts, see disability; human remains Boltanski, Luc, 9, 17 Boudia, Mohamed, 23, 36 Bouhazer, Hocine, see Bouzaher, Hocine Bourguiba, Habib, 192–4, 202 Bouzaher, Hocine, 11, 23–35, 37 Des voix dans la Casbah, 24, 26, 28, 34, 37–8 On ne capture pas le soleil, 24, 27, 30–1, 33–5 Serkaji (à l’ombre de Barberousse), 24, 27 Box, Laura Chakravarty, 191, 205 Brazil, 1, 58 Brecht, Bertolt, 28, 35, 44–5, 48, 54, 61, 158, 194–6 ‘Brechtian’, 27, 40 The Mother, 196, 199 The Petty-Bourgeois Wedding, 195 The Threepenny Opera, 45, 48 see also alienation effect Bright Shadow (UK), 229, 237 British House of Commons Health Committee, 230 Buenos Aires International Theatre Festival, 197 Burnett, Peter, 132 Bush, George H. W., 210 Butler, Judith, 111, 124, 147 Byrne, Patricia, 235 See No Evil, 236, 240 Cachin, Henri, see Kréa, Henri Cann, Paul and Dean, Malcolm, 233, 239 Unequal Ageing: The Untold Story of Exclusion in Old Age, 233 care home, 228, 232–4, 237–40 Orchid View (Sussex), 232 Hillcroft (Lancashire), 232 Mid Staffordshire Hospital, 232 Cayrol, Jean, 17, 22, 36 CEC (Centre for Elders and Courts, US), 238

Copyrighted material – 9781137362292

Copyrighted material – 9781137362292 246

Index

censorship, 6, 11, 21–38, 49, 129, 144, 165, 191, 193–7, 199–202 see also freedom Chaikin, Joseph, 216, 226 Chanwai-Earle, Lynda, 115, 125, 127, Ka Shue/Letters Home, 115 Man in a Suitcase, 115 child abuse, see abuse Chile, 12, 93–5, 108 Chilean National Commission on Truth and Reconciliation, 108 China, 3–4, 13, 26, 110, 113, 116–17, 119, 154–60, 163–5, 167–8 Chirac, Jacques, 119 Chooky Dancers, 78, 83 Churchill, Caryl, 2 cinema, 22–3, 36, 202 civic rights, 24, 29–30, 34–6 civil rights, 36, 40–1, 46, 48–50, 53, 211, 215, 225 Clark, Brian, Whose Life Is It Anyway?, 2 Code du Patrimoine (Heritage Code, France), 111–12, 124 Cold War, 36, 40, 44, 153 colonialism, 10, 11–12, 15, 21, 23–4, 28, 30, 32–3, 35–7, 74, 76, 111–13, 119, 121, 191, 201 Comédie Française, 201 commedia dell’ arte, 239 Communism, 23, 26, 154, 199 compassion, 216–17, 219, 232, 234 concentration camp, 9, 17, 22, 40, 110 see also under individual names confession, 93, 98, 100–1, 104, 106, 108–9, 163 Cook, Tim, 167 Corrie, Rachel, 2 crimes against humanity, 174, 176 Critical Race Theory, see identity politics CSCI (Commission for Social Care Inspection, UK), 232, 238–9 CTB (Coopération Technique Belge/Belgian Development Agency), 178 cultural memory, 11–12, 108 Czech Republic, 1

Dachau, 9 Daisey, Mike, 128, 147, 153–70 The Agony and Ecstasy of Steve Jobs, 153–70 All Stories are Fiction, 154 How the American Theatre Failed Us, 154 I Miss the Cold War, 153 Wasting your Breath, 153 Damascus Arab Capital of Culture Festival, 200 dance, 2–3, 49, 60, 67, 78, 80–3, 178, 182, 190 dance theatre, 2, 161 Davis, Jack, 80–1, 84 Barungin, 84 The Dreamers, 81 First Born Trilogy, 80 Deane, Seamus, 45, 53 Declaration of Human and Civic Rights (France, 1789), 35 Declaration on the Right to Insubordination in the Algerian War, see Manifeste des 121 defixio, see Johnson, Odai Dell, 154–6 Deloria, Vine, 128 dementia, 196, 229–30, 232, 236–7 democracy, 12, 57–9, 64, 66, 71, 93–8, 187, 205 Democratic Unionist Party (Northern Ireland), 41 Denford, Cathy, 236 Derrida, Jacques, 8, 17 Derry/Londonderry, 40–53, 235 dictatorship, 93, 95–8 Dien Bien Phu, battle of, 26 Dirty War (Argentina), 95, 108 disability, 3, 14, 128, 140, 209–27, 229 ADA (Americans with Disabilities Act), 210–11, 215, 223, 225, 235 disability rights, 3, 128, 219, 224, 225, 227 ‘disabling gaze’, 213–14 disappearance, 3, 12, 94–6, 102–3, 106 see also kidnapping discrimination, 11, 14, 78–9, 174, 210–1, 224 Djedidi, Hafedh, 193, 205

Copyrighted material – 9781137362292

Copyrighted material – 9781137362292 Index

247

Easter Rising (Ireland, 1916), 48 Eichmann, Adolf, 7 El Kef theatre (Tunisia), 193–4 El Moudjahid, 25, 37 El Sadaawi, Nawal, 1 Elcho Island, Australia, 77–8, 82 elder abuse, see abuse empathy, 217, 233 Enlightenment, 110 Enoch, Wesley The 7 Stages of Grieving, 84 Esbjornson, David, 216 ethics, 13, 155, 166 of representation, 11, 46, 139, 161, 163, 167 ethnicity, 11, 173, 186–8 Eugene O’Neill Theatre Center (Waterford, CT), 216 Evian Accords, 21, 23

Flatt, Molly, 233–4, 239 FLN (Front de Libération Nationale/Algerian National Liberation Front), 21–27, 29, 31–4, 38 forced marriage guterura (Rwanda), 184 Forsman, Carl, 219 Foxconn, 154–60, 164, 167 Foxtrot Theatre Company (Dundee), 236 Frantic Assembly (UK), 2 freedom, 47–8, 57, 59, 64, 66, 70–2, 88, 128, 192, 196, 203, 204, 235 of the press, 199 of speech, 129, 144, 202, 205–6 French Revolution, 5, 10, 35, 197 Freud, Sigmund, 95–6, 108 Beyond the Pleasure Principle, 95 ‘repetition compulsion’, 95–6 Friel, Brian, 11, 39–54 The Communication Cord, 51 The Freedom of the City, 39–54 The Mundy Scheme, 40, 44 Philadelphia, Here I Come!, 40 Translations, 43, 46, 50–1 Volunteers, 40 Fries, Kenny, 215, 226 Staring Back: The Disability Experience from the Inside Out, 214–15, 226 Fugard, Athol, 1

Falcon Theatre (Burbank, CA), 214 Familia Productions, 196 Belhadi, Habib, 196 Coffee Lover’s Desert, 196 Junun, 196 In Search of Aida, 196–8 see also Jaïbi, Fadhel; Baccar, Jalila Fanon, Frantz, 25, 37 Farber, Yael, 1–2 Ensemble, 2 Nirbhaya, 2 Farhat, Rajah, 195 Troupe Gafsa (Tunisia), 195 Fassin, Didier, 10, 17 feminism, see identity politics Fisher, John Ishi: The Last of the Yahi, 128–50

gacaca, 174–6, 185–8 Gafsa theatre (Tunisia), 193–5 Galiwin’ku (Australia), 77–9 Gauhar, Madeeha, 1 de Gaulle, Charles, 30 gay and lesbian rights, 3 Gaz’lam (South Africa), 61 Gaza Strip, 2 gender, 205 -based abuse, see abuse -based discrimination, 14, 57, 86, 131 -based violence, 14, 171–89: see also rape Generations (soap, South Africa), 61 Genet, Jean, 23, 34, 36 Geneva Conventions (1949), 7, 24, 33

documentary theatre, see verbatim/documentary theatre Doomadgee, Mulrunji Cameron, 84–7, 89 Dorfman, Ariel, 1, 12, 93–109 Death and the Maiden, 12–13, 93–109 DRC (Democratic Republic of Congo), 172–3, 187 Driss, Mohammed, 194–5, 205 see also Al-masrah al-jadid Dwyer, Paul, 84, 86

Copyrighted material – 9781137362292

Copyrighted material – 9781137362292 248

Index

genocide, 3, 6, 7, 8–10, 12–13, 29, 39, 128–50, 171–89 see also Rwandan genocide; AVEGA Germany, 16, 26, 45, 198, 202 Ghana, 4 ghost, 63, 93, 106, 111, 113, 115, 117, 123, 219 Gilbert, Helen, 3, 15, 79, 88, 124 Gilbert, Kevin The Cherry Pickers, 80 Glass, Ira, 159, 161, 164–5, 169 globalization, 153–5, 161 Gold Rush (California), 132, 134 Grace-Smith, Briar, 116, 125 Graeae (UK), 3 grave sites, 47, 49, 53, 63, 65, 104, 113, 123, 145, 209 communal graves, 13, 133 Great Australian Silence, 12, 74–89 Greek drama, 29, 131, 143 grief, 77, 83, 87, 118 Hadj, Messali, 25, 27 Hadley, Tessa, 232 HAGURUKA (Association of the Defence of Women and Children’s Rights, Rwanda), 178–9 Havel, Václav, 1 Hearst, George, 132 Hearst, Phoebe Apperson, 131–3, 145 Hearst, William Randolph, 132 Help the Aged (UK), 232, 238 Henry, Pierre, 34 Holocaust, 2, 7–8, 10, 16–18, 40, 148, 242 homo sacer, see ‘bare life’ homophobia, see gay and lesbian rights Hopgood, Steven, 10, 17 Hughes, Jenny, 3, 15, 53 Hulme, Keri, 116 The Bone People, 116 human remains, 12, 110–27, 133, 145–6 heads, 112, 114, 121, 125–6 scalps, 133 human rights, 1–17, 32–3, 39, 41, 44, 48, 50–2, 57, 74–8, 87, 93–5, 109, 110–11, 122, 128–30, 133, 139,

144, 153, 161, 171–4, 176–87, 194, 228 and activism, 3–4, 25, 87, 196, 226 and globalization, 5, 10, 153–5, 161, 172 and labour laws, 4, 11, 13, 86, 128, 153–70 and theatre companies, 11, 57–73, 77–87, 173–7: see also under individual companies in the West, 4, 10, 13–14, 176 humanitarianism, 5–6, 10, 14, 98, 109, 229 human trafficking, 3 Ibsen, Henrik, 222 ICTR (International Criminal Tribunal for Rwanda), 176, 187–8 identity politics, 212 Ignatieff, Michael, 10, 17 Ihimaera, Witi, 116 Ilbijerri (Australia), 83–4 imperialism, 3, 10, 28, 64, 114, 119 inalienable rights, 5, 10, 110–12, 228, 235 India, 1 indigenous peoples, 3, 12, 67–8, 74–89, 110–27, 128–50, 176 Indochina War, 26 Indonesian War of Independence, 23 Industrial Revolution, 153 inequality, 3, 11, 58, 185 Inkatha Freedom Party (South Africa), 61 INPEA (International Network for Prevention of Elder Abuse), 228 international aid, 173, 176 International Committee to Protect Journalists, 197 The Intervention (Australia), 78–9, 82 inyangamagayo (Rwanda), 185 IRA (Irish Republican Army), 40, 42, 222 Iraq War, 222 Iris (film), 229 Irish Nationalist Party (Northern Ireland), 41 The Iron Lady (film), 229

Copyrighted material – 9781137362292

Copyrighted material – 9781137362292 Index Ishi, 128–50 see also Fisher, John; Kroeber, Theodora; Vizenor, Gerald Israel, 2, 147, 196, 203 Jackson, Lauren, 115 Jaïbi, Fadhel, 193–6, 198, 200–6 The Wedding, 195 see also Al-masrah al-jadid; Baccar, Jalila Jamieson, Nigel, 78 Jaziri, Fadhel, 194, 196 see also Al-masrah al-jadid Jobs, Steve, 13, 128, 147, 153–6, 158, 161–4, 167–8 John F. Kennedy Center (New York), 190–1, 201, 216 Johnson, Odai, 209, 224–5, 227 defixio, 209, 210, 216, 220, 224 Journées Théâtrales de Carthage, 196 justice, 1, 4, 12, 24, 83, 87, 94, 96, 98, 104–5, 156, 171, 173–4, 176–9, 183, 185, 205 Kafka, Franz The Trial, 203 Kaitesi, Usta, 171, 175, 180, 187–9 Karamanos, Hioni, 213 Kaufman, Moisés The Laramie Project, 1 Keen Company, 219 Kentridge, William, 136 Ubu and the Truth Commission, 136 kidnapping, 77, 95, 184 see also disappearance Ki-moon, Ban, 228 Kofman, Sarah, 8–9, 17 Kouka, Hone, 116 Kréa, Henri, 11, 23–30, 34–5, 37 Le séisme, 24, 26–7, 29, 30, 34–5 Kroeber, Alfred, 133–7, 144, 146, 149 Kroeber, Theodora, 134–5, 149 Ishi in Two Worlds, 135, 149 Kubai, Anne and Ahlberg, Beth Maina, 172, 185, 187, 189 Kushner, Tony, 214, 216 Kuwait, 190

249

Kyagas, Sam, 173 Ukuri Mubinyoma (Truth in Lies), 171, 173–5, 177–80, 184–5 see also Azeda, Hope and Mashirika Creative and Performing Arts Group The Lab (South Africa), 61, 132 labour rights, 11, 154 see also human rights land rights, 12, 78, 82 Lane, Rhiannon and Hirst, Katy, 237 Lavaudant, Georges, 198 Lawrence, Stephen, 1 Lecoq, Jacques, 71, 235 techniques (clowning, bouffon, mask), 235 Liang, Renee, 115–16, 118–9, 122, 124–5 The Bone Feeder, 110, 115–16, 122, 124–5 liberalism (Western), 10, 12–13 see also neoliberalism Linehan, Rosaleen, 233–4, 239 listening, 9, 93–109 Losurdo, Domenico, 10, 17 Lowry Theatre (Salford), 234 Mabrouk, Mehdi, 203 Madani, Azzadine, 193 Made in Dagenham, 2 Madison, D. Soyini, 3–4, 16 Maghreb, 36, 37, 191, 205 magic realism, 116 Magnet Theatre, 11–12, 57–73 53 Degrees, 63 Cargo, 63 Every Year, Everyday, I am Walking, 63 Mbothwe, Mandla, 63–9, 72–3: ingcwaba lendoda lise cankwe ndlela (the grave of the man is next to the road), 63–9; Inxeba Lomphilisi (The Wound of a Healer), 63–9 Onnest’bo, 63 Rain in a Dead Man’s Footprints, 63 Mahmoud Darwish Award for Freedom and Creation, 203

Copyrighted material – 9781137362292

Copyrighted material – 9781137362292 250

Index

Mailman, Deborah, 84 The 7 Stages of Grieving, 84 Mandel, Naomi, 7, 16 Mandela, Nelson, 2, 71 Mangai, 1 Mangan, Michael, 233, 239 Staging Ageing, 233, 239 Manifeste des 121 (Declaration on the Right to Insubordination in the Algerian War), 22, 26 Manifesto of the Eleven, 192–3 Maori, 110–27, 149 Mark Taper Forum (Los Angeles), 214, 222 Mashirika Creative and Performing Arts Group, 173, 178, 188 mask, 29–30, 108, 234–5 Maspero, François, 24–6, 34, 37 Maza, Rachel, 84 McDonagh, Martin, 233–4 The Beauty Queen of Leenane, 233 McGuinness, Frank, 42–4, 47, 49, 52–4 Caravaggio, 43 Carthaginians, 42–4, 47, 49, 53 Observe the Sons of Ulster Marching Towards the Somme, 43 Mead, Margaret, 125, 128 memorialization, 23, 29, 35, 112, 122–4, 131–2, 148 Mencap, 237 Mer Khamis, Juliano, 1 Miessen, Martin, 175, 188 migrant, 53, 75, 110, 112, 115, 201, 216 migration, 12, 40, 63–5, 72, 110, 125, 127 Moore, Brian, 40, 53 Moraga, Cherrie, 1 Mukaka, Alice, 184, 189 murder, 1–2, 8, 34, 42–3, 52, 77, 84, 86, 95, 105, 115, 137, 141–2, 148, 232 Murphy, Lenny, 43 Murphy, Tom Bailegangaire, 239 music, 2, 12–13, 27, 34, 49, 59, 66, 72, 98–109, 115–16, 136–37, 165, 190 see also sound recordings Myanmar, 3

myth, 7, 10–11, 26, 29–30, 74, 113, 116, 123, 180, 209, 215 see also Johnson, Odai Nadeem, Shahid, 1 Nancy, Jean-Luc, 67, 71–2 narrative, 6, 9–10, 12–13, 15, 29, 53, 70, 72, 79, 101, 112, 117, 119, 126, 147, 149, 155, 161, 167, 174, 177, 213–15, 218, 221, 226, 233, 239 National Review Board (Tunisia), 195, 198 nationalism, 11, 22, 25, 27–28, 108, 173 Native American, 12–13, 128–50 Native American Graves Protection and Repatriation Act (NAGPRA), 133, 148 Nazism, 8, 17, 22–3, 33, 44, 53, 210 NCPEA (National Committee for the Prevention of Elder Abuse, US), 238 neoliberalism, 4, 10, 59, 61, 71 New York Public Theatre, 222 New Zealand, 110–27 NGO (non-governmental organization), 178–9, 183, 228 see also under individual names Ngurrumilmarrmiriyu: Wrong Skin, 77–82, 88 see also Chooky Dancers; Jamieson, Nigel Nicholson, Helen, 3, 16 non-violence, 135, 141 see also violence North Korea, 3 Northern Ireland, 11, 39–54, 236 Norton-Taylor, Richard The Colour of Justice, 1 Nottage, Lynn Ruined, 2 Nouvel, Jean, 119, 125, 126 nuko zubakwa (‘a man’s right’, Rwanda), 181–2 Nuremberg trials, 7, 15, 22, 33 O’Neill, Eugene, 216, 217 O’Neill, Maureen, 236

Copyrighted material – 9781137362292

Copyrighted material – 9781137362292 Index Obama, Barack, 190, 223 Obamacare, see ACA Odéon Theatre, 198, 201, 206 OLPEC (Observatory for the Freedom of Press, Publishing and Creation, Tunisia), 199, 206 Talbi, Mohamed, 199, 206 OAS (Organisation de l’Armée Secrète, France), 25 Oswald, Pierre Jean, 24, 37 Other Voices Project, 216, 218 pain, 7, 13, 65–6, 77, 83, 87, 95–6, 99, 144, 147, 203, 211–12, 218, 224 Pakistan, 1 Palestine, 198, 203–4 Pandey, Jyoti Singh, 2 Parker, Stewart, 40, 44, 45, 47, 52, 53 Northern Star, 45, 53 Spokesong, 40, 52, 53, 54 Parks, Suzan-Lori America Play, 144, 150 Parliamentary Health Committee (UK), 232 participatory theatre, 6, 35, 171–89, 236–7 partner abuse, see abuse Patraka, Vivian, 8, 17 performativity, 6, 12, 49, 82, 110, 120, 130, 136–7, 214 Performing Lines (Australia), 77 Peterson, Lisa, 216 Pinochet, Augusto, 12, 93 Pinter, Harold, 1–2 Mountain Language, 2 One for the Road, 2 Pittsburgh City Theatre, 222–3 pity, 9–10 political theatre, 5–6, 10, 11, 13, 15, 21–38, 40, 43, 46, 82, 190, 192–205, 211, 236 Pommeret, Xavier-Agnan, 23 PRI (Penal Reform International), 176 projection, 134, 183 of visual material in theatre, 27, 65, 83 puppet theatre, 3 Queer Theory, see identity politics

251

Racial Discrimination Act (Australia, 1975), 78–9 racial violence, see violence racism, 1, 77–8, 83, 86, 131 Rah-e Sabz (Afghanistan), 3 Raines, Nina Tribes, 223 Raïs, Abdelhalim, 26 Rancière, Jacques, 5, 16, 147, 150 rape, 2, 29, 93, 99, 101, 171, 174–5, 178, 180, 184, 187 see also abuse; violence Rechtman, Richard, 10, 17 reconciliation, 42, 49, 66, 111, 118, 138, 176, 185, 187, 188 see also Truth and Reconciliation Commission (South Africa); Chilean National Commission on Truth and Reconciliation Red Cross, 33 Red Power (US), 128 Reid, Christina, 45, 47 Joyriders, 47 Reinelt, Janelle, 177, 189 religion, 16, 53, 62, 113, 163, 190–1, 195–6, 199, 202–3 reminiscence theatre, 237, 240 Rendon, Marcie, 1, 36 repatriation, 13, 110–27, 133–4, 145, 148 ‘repetition compulsion’, see Freud, Sigmund representation, 6–7, 11, 13–14, 23–4, 27, 29, 31–2, 35, 43, 61–2, 65–6, 72, 75–6, 78, 80, 81–3, 85, 97, 103, 108, 115–16, 118–19, 128–50, 186, 210–11, 213, 218, 220, 223, 233 see also ethics reproductive health, 111, 178 Republic of Ireland, 48 Résistance Algérienne, 25, 31 Retort collective, 59, 71 Reyntjens, Filip, 176–7, 187, 188 Reznek, Jennie, 62, 71, 72 Rickman, Alan My Name is Rachel Corrie, 2 Risky Things (UK), 229, 236–7

Copyrighted material – 9781137362292

Copyrighted material – 9781137362292 252

Index

Rizvi, Nighat, 1 Roblès, Emmanuel, 23 Rooney, Mickey, 231, 238 Royal Shakespeare Company, 190, 201 Global Shakespeare Project, 190 RPF (Rwandan Patriotic Front), 172, 176–7, 185 Russia, 3 Rwanda, 13–14, 171–89 Demographic and Health Survey (2010), 172, 187 Rwandan genocide (1994), 171–89 see also AVEGA Rwandan Ministry of Justice, 178–9, 183–4 Safeguarding Adults (UK), 236 Saint Augustine, 9 Salafists, 202 Salim, Si, see Bouzaher, Hocine Sartre, Jean-Paul, 23 Saville Inquiry (Lord Saville’s Report into Bloody Sunday, 2010, UK), 41–3 Schaeffer, Pierre, 34 Schmitt, Carl, 53 Schweitzer, Pam, 240 The Scottsboro Boys (musical), 2 segregation, 60, 86 Senate Committee on Ageing (US), 231 Serreau, Jean-Marie, 34 sexism, see gender sexual health, see reproductive health sexual violence, see violence shadow theatre, 28–9 Shakespeare, William, 2, 15, 79, 190, 201, 216 King Lear, 233 Shanghai Dramatic Arts Centre, 234 Shepard, Matthew, 1, 36–8 Shoah, see Holocaust Shipman, Harold Shipman Inquiry (UK), 232 silence, 2, 6, 8, 11–12, 16, 35, 50–1, 60, 63–4, 66–8, 72, 74–89, 129–30, 139, 141–3, 167, 172,

175, 179–80, 186, 205, 210, 229–31, 236–7 Silicon Valley, 154 Simpatico (Philadelphia), 224 Sinn Féin, 41 slavery, 7, 10, 63–4, 74, 148, 209–10 slave trade, 131 Small, Helen, 233, 239 Smith, Anna Deveare, 1 Fires in the Mirror, 1 Twilight: Los Angeles 1992, 1 Social and Democratic Labour Party (Northern Ireland), 44 social justice, 4, 12, 24, 83, 205 social inequality, 3, 11, 58: see also under individual forms Sole Purpose (Derry/Londonderry), 229, 235 Sophocles, 222 Oedipus Rex, 234 Philoctetes, 222 sound recordings, 27 see also music South Africa, 1, 11–12, 57–73, 129, 136, 139, 147, 203 South African Broadcasting Corporation (SABC), 60, 71 spousal abuse, see abuse SS Ventnor, 112–15, 117, 122–4, 125, 126, 127 ‘state of exception’ (Agamben), 75, 87, 110 Steiner, George, 51, 109 Stetson, Jeff The Meeting, 2 stigma, 210, 225 storytelling, 3, 28, 85, 87, 117, 123, 154, 158, 160, 164–6, 192, 235 Stronger Futures Bill (Australia, 2011), 79, 88 suffering, 2, 5–6, 9, 17, 22, 87, 117, 132, 155, 186, 210, 238 Sufism, 199, 202 suicide, 84, 89, 154, 157, 160, 199 survivor, 8, 12, 16, 17, 22, 95, 134, 138–40 survival, 4, 75, 79, 107, 114, 172, 224

Copyrighted material – 9781137362292

Copyrighted material – 9781137362292 Index taboo, 14, 76, 155–6, 185–6, 218, 228–9, 232–5 Te Papa Tongarewa (National Museum of New Zealand), 120, 126 television, 12, 47, 70, 71, 201 drama, 12, 59–62, 64, 66, 68, 71 testimony, 9, 47, 50, 52, 94, 102–3, 147, 161, 175, 231 Theater Hora (Switzerland), 3 Théâtre Molière (Brussels), 34 ‘Theatre of the Oppressed’ (Boal), 1 see also Boal, Augusto Theatre Rhinoceros (San Francisco), 136 Thompson, James, 3, 15 Thompson, Judith Palace at the End, 2 Thukhuma Khayeethe (Myanmar), 3 Tibetan Liberation Theatre, 3 Tilley, Brian The Line, 61 Tokyo International Arts Festival, 197–8, 200 Tompkins, Joanne, 3, 15, 79, 88 TongueTied Theatre (UK), 229, 234–5, 239 torture, 3, 6, 7, 11–13, 16, 21–4, 27–9, 31–4, 38, 40, 43, 93–5, 97–102, 104–6, 108–9, 128, 175, 187, 199, 235 transitional justice, 16, 72, 174, 188 translation, 28, 36, 43, 46, 50, 83, 107, 108, 109, 192, 205 trauma, 2, 7–8, 10, 12–13, 17, 36, 44–5, 65, 72, 74, 77, 93–109, 111, 113, 115, 123–4, 127, 129–30, 134, 147, 154–5, 161, 165, 175, 184, 210, 212, 224 Trinity Repertory Theatre (Providence, RI), 216, 234 Troubles (Northern Ireland), 11, 39–54 Troupe municipale d’art dramatique arabe (Tunisia), 192 Truth and Reconciliation Commission (South Africa), 66, 72, 136 Tunisian Municipal Theatre (Tunis), 198 Tunisian National Theatre, 192, 194 Twigg, Julia, 233, 239

253

UC Berkeley, 13, 128–50 UDA (Ulster Defence Army), 44 US Supreme Court, 211 Ujima Company (Buffalo, NY), 224 Ulster Unionist Party (Northern Ireland), 41, 44 unimaginable, 9, 135 United Democratic Front (South Africa), 61–2 United Nations, 1, 3, 14, 31, 39, 53, 75, 112, 125, 132, 176, 185, 228, 237 Declaration on the Rights of Indigenous People, 75, 112, 125 Development Assistance for Rwanda strategy report, 75, 112, 125 Universal Declaration of Human Rights (1948), 1, 7, 8, 11, 39, 41, 44, 48, 50, 52, 53, 75 ‘universal human rights’ (Žižek), 5–6 universalism, 9, 119 unspeakability, 2, 6, 7–9, 11–16, 21–38, 57–73, 76–7, 83, 85–7, 110–11, 113, 115, 123–4, 129–30, 139, 172–4, 183, 186, 191, 209–10, 218, 220, 221, 224, 225, 227 Urban Stages (New York), 219 Urunana Development Communication (Rwanda), 178–80 UVF (Ulster Volunteer Force, Northern Ireland), 42–4 Varenhorst, Andrew, 224 verbatim/documentary theatre, 2–3, 83–5, 164, 169 Version 1.0 (Australia), 83–4, 86 Vichy regime (France), 22, 33, 36 victimhood, 10, 17, 70, 72 Videla, Rafel, 95, 109 Vilar, Jean, 192–3 Vinaver, Michel, 23 violence, 21, 27, 40, 44–6, 52, 54, 60, 67, 99, 128–9, 130, 228 gender-based, 14, 171–89: see also rape; abuse racial, 75, 77, 83–4, 86, 132, 147, 150, 173

Copyrighted material – 9781137362292

Copyrighted material – 9781137362292 254

Index

violence – continued sexual, 171–2, 174–5, 184, 187–9: see also rape; abuse see also non-violence Vizenor, Gerald, 134–35, 149 Ishi and the Wood Ducks, 134, 149 ‘Ishi Obscura’, 134 voting rights, 1, 28, 31 VSA (Very Special Arts), 216, 223, 226 VSA Pennsylvania, 223 Walley, Richard, 84 Munjong, 84 war, 1, 2, 3, 5, 10, 11, 15, 16, 17, 21–38, 39–40, 42, 44–5, 74, 95, 108, 111, 124, 132, 135, 138, 149, 153, 156, 168, 173, 187, 197, 203–4, 222 see also under individual wars war crime, 7, 31 War on Terror, 197, 203 Weiss, Peter The Investigation, 1, 195 wellbeing, 75, 187, 234

Wiggs, Lizzie and Davies, Kyle, 234–5, 239 The Unholy Trinity, 234–5 witnessing, 8, 11, 143–4, 147, 172, 178 Wittgenstein, Ludwig, 8, 17, 52 women dramatists, 191 see also under individual names women’s rights, 3, 182, 186 World Health Organization, 230 World War I, 31, 34, 45, 95 World War II, 1, 34, 39, 42, 44 Wozniak, Steve, 155 Xhosa, 64, 67–8 Yacine, Kateb, 23, 28, 34, 36 Yeats, William Butler, 52 Yizo-Yizo (South Africa), 61 Yolgnu, 77–82 York Theatre Royal, 234 Young Vic theatre (London), 233, 239 Zimbabwe, 3 Žižek, Slavoj, 5–6, 16, 45, 54 Zola, Irving, 210, 225 Zuhier, Sofiane, see Bouzaher, Hocine Zuma, Jacob, 61