Get Real: Documentary Theatre Past and Present PDF
Preview Get Real: Documentary Theatre Past and Present
Get Real Documentary Theatre Past and Present Edited by Alison Forsyth and Chris Megson 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 thea- tre, 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 trans- versally across artistic and ideological boundaries to publish work that promotes dialogue between practitioners and academics, and interactions between per- formance 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: 1995–2005 Melissa Sihra (editor) WOMEN IN IRISH DRAMA A Century of Authorship and Representation Performance Interventions Series Standing Order ISBN 978–1–4039–4443–6 Hardback 978–1–4039–4444–3 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 Also by Alison Forsyth Forsyth, A. (2002) Gadamer, History and The Classics: Fugard, Marowitz, Berkoff and Harrison Rewrite the Theatre (New York: Peter Lang). Get Real Documentary Theatre Past and Present Edited by Alison Forsyth and Chris Megson Introduction, selection and editorial matter © Alison Forsyth and Chris Megson 2009 Individual chapters © contributors Softcover reprint of the hardcover 1st edition 2009 978-0-230-22115-4 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 1988. First published 2009 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, 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 10010. 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 978-1-349-30668-8 ISBN 978-0-230-23694-3 (eBook) DOI 10.1057/9780230236943 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. 10 9 8 7 6 5 4 3 2 1 18 17 16 15 14 13 12 11 10 09 In loving memory of John Johnstone Forsyth and Thomas Furbisher This page intentionally left blank Contents Acknowledgements ix Notes on Contributors 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 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 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 edi- tors, 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 encourage- ment 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, www.AuroraCrowley.com ix
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