
by Curmie
[ JM here: I want to let Curmie’s Conjectures stand on their own, so I apologize at the outset by intruding with a brief introduction. Lest anyone be dissuaded from reading the whole post because the author’s scholarly tone and apparent focus at the start suggests that this will be a narrow discourse on topics rather more relished by Curmie and me than by the majority of EA readers—theater and the performing arts—fear not. The tags on the article will be “Canada, censorship, the Hamas-Israel War Ethics Train Wreck, and political theater.” The post also involves some of the same considerations as one of mine two days ago. ]
There is a theory, one to which I subscribe, which suggests that the Dionysian Festival of classical Athens began not really as a religious observance in honor of a demi-god but rather as a means of consolidating the political power of the tyrant Peisistratus. Whether or not this is true, there is no doubt that by 458 BCE Aeschylus’ Oresteia, widely acclaimed as “the world’s first dramatic masterpiece,” offers commentary on the reforms of the Areopagus enacted by the strategos Ephialtes some three years earlier.
There is no question that since that time the theatre has often—not always, but often—been political. The 20th century offered more than a few examples of playwrights and production companies who, often at personal risk, critiqued the power structures around them: Jean-Paul Sartre took on the Nazis; Lorraine Hansberry, racism in the US; Athol Fugard, apartheid; Václav Havel, communism in Eastern Europe.
Not all such efforts were for causes most of us would endorse, of course. Socialist Realism was a Stalinist policy under which all art had to support The Revolution: not just avoid criticism of the regime, but actively and explicitly endorse it. More recently, the Freedom Theatre of Jenin (on the occupied West Bank) has been in the news. A few weeks ago, one of the student organizations at my university posted an encomium to the company, which they described as “an example of creating liberating theatre and serving communities through theatrical pedagogy and profound performance.” I remembered having written about that theatre a dozen or so years ago. If I might quote myself for a moment: “Turns out that the Freedom Theatre was pretty damned proud of having turned out alumni who engaged in armed insurrection, and at least one of whom, a suicide bomber, richly merited description as a terrorist.”
So no, propagandistic theatre isn’t always a good thing… but engaging with the world is. Even subtle messages matter. Under normal circumstances, Aunt Eller’s wish that “the farmer and the cowman can be friends” doesn’t amount to much. But Oklahoma! hit Broadway after the declaration of war against the Axis powers and before D-Day. “Territory folks” need to put aside their petty grievances when there’s a guy with a funny mustache who’s far worse than any of your neighbors will ever be.
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