It seems a frequent theme that writers, performers, and
artists attempt to slip the bonds of censorship by voicing themselves through
their art. Knowing and understanding the
actuating power of theatre, some countries and rulers have attempted to
capitalize on its persuasive message by appropriating it. Nazi propaganda, art, and theatre aided in
the unification of a country against a specific scapegoat.
Wayang performances
also attempted to slip the bonds of censorship imposed by the New Order by
inserting contemporary references and jokes into their traditional tales. This critical commentary on the ruling class
worked as a social movement and mode of opposition. The opposition was even more powerful because
of the position of Wayang as integral symbol of tradition and hierarchy in the
New Order (Clark, pg. 165).
Similarly, Shakespeare fearing repercussions for the tone of
his works set many of his plays outside of England (Italy, etc.). This allowed him to critique the ruling class
and its leaders from a safe distance.
For example, in Twelfth Night
Malvolio (the Puritan influence) is degraded, mocked, and finally flees from
the others in an embarrassed fury. The
social and political commentary is masked in the dialogue and staging of
performance.
Contemporary references made through song and clown scenes
increase the efficacy of the performance. Though the texts are retold, as well as,
traditional aspects of the Indonesian culture, these updates allow the humor to
remain applicable to the audience. These
updates can also be used to draw connections dramatically. Tony Kushner’s play A Bright Room Called Day contains monologues by the “modern
character” railing against the policies of President Ronald Regan. This was applicable, as it was first written
in the eighties. However, if you contact
the playwright, he will send you updated versions of the monologues thereby
making them applicable to a contemporary audience. Modern references enhance communitas by
making the scene relatable in that time.
- Hailey Drescher
You kind of surprised me by bringing in the Nazis in the first paragraph... But yeah, the same characteristics -- the same way that theatre (including puppet theatre), storytelling, and music all inhabit a playful, liminal cultural space in which playfulness is permissible -- permit performance to be used as a tool to either subvert the status quo (as counter-cultural expression) or reify the power of regimes (as propaganda).
ReplyDeleteTo extend this essay, I'd like you to use the wayang as an example of why this is true -- why inhabiting this playful cultural borderland allows performance to tear down, build up, or ignore the powerful forces of hegemony (and frequently manage to do a little of all three!)
Interesting side note- yesterday's WSJ had an article about how a news-station in (I think) Pennsylvania, is using puppets to tell the daily story of a big political trial going on there! I'll see if I can find a link.
ReplyDeleteAngela
http://www.huffingtonpost.com/2012/01/20/trial-by-puppet_n_1218551.html
ReplyDeleteHere is the link- it's Cleveland- check it out!