King, Donovan. 2004. Optative Theatre-- A Critical Theory for Challenging Oppression and Spectacle.pdf

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UNIVERSITY OF CALGARY
Optative Theatre:
A Critical Theory for Challenging Oppression and Spectacle
by
Donovan King
A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES
IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE
DEGREE OF MASTER OF FINE ARTS (THEATRE STUDIES)
DEPARTMENT OF DRAMA
CALGARY, ALBERTA
NOVEMBER, 2004
© Donovan King 2004
ii
APPROVAL
UNIVERSITY OF CALGARY
FACULTY OF GRADUATE STUDIES
The undersigned certify that they have read, and recommend to the Faculty of
Graduate Studies for acceptance, a thesis entitled “Optative Theatre: A Critical
Theory for Challenging Oppression and Spectacle” submitted by Donovan King
in partial fulfillment of the requirements for the degree of Master of Fine Arts
(Theatre Studies).
iii
Abstract
The goal of this thesis is to develop a powerful new socio-theatrical
paradigm for the 21st Century: the optative theatre. Exploring the state of
oppression in the new millennium, the shortcomings of standard theatrical
paradigms, and explosions in critical discourse and new technology, this thesis
proposes that a new activist and user-based theatre is both necessary and
desirable in order to overcome the dragooning of theatre, society, and
humankind. Drawing primarily from the fields of Cultural and Theatre Studies,
especially as they relate to Cultural Resistance and Global Justice, the
Situationist notion of Spectacle is examined as an oppressive force that
quagmires and devastates the whole of humanity. Critical thinking is provoked
regarding human behaviour and dramatic performance on the world stage, and
concepts of revolutionary theatre and theatrical revolution are examined in depth
as they relate to Spectacle and the liberation of humanity.
Based on the concept of
counter-hegemonic playing,
the highly activist
optative theatre is portable, user-friendly, and free. Designed to inspire critical
reflection and humanist transformation, optative theatre proposes that by
adopting an anti-oppressive foundation to human identity, it is possible to employ
theatre activism to challenge oppression in all its forms - by meta-theatrically
playing the provocateur, and hence by living in action. With the ability to create
instant virtual realities, optative theatre provides both a tool for critical reflection
and a theatrical strategy for challenging oppression on personal, cultural, and
structural levels of society. Furthermore, as a viral form of theatre, it has the
potential to spread rapidly.
iv
Acknowledgements
Although a scholarly undertaking of this scope inevitably makes use of a
wide variety of academic sources, given its socio-theatrical nature it has also
involved a substantial practical dimension, and I would like to acknowledge first
and foremost all the players who have engaged with the Optative Theatrical
Laboratories, especially Peter Pelletier, Ross Bonnell, George Mougias, and
Jason C. McLean, all of whom made significant contributions. I would also like to
express my indebtedness to David Fennario, Augusto Boal, Andrew Boyd, Bill
Talen, Michael O’Neill, Kathyrn Blume, Stephen Duncombe, Judy Rebick, Alexis
Sottile, Theatres Against War (THAW), and other activists for their inspiration,
assistance, and confidence. I would like to thank my supervisor Barry Yzereef for
his encouragement, support, and guidance throughout the composition of this
thesis, and Kathleen Hulley for her support, academic feedback, and inspiration. I
also express gratitude to my family and friends, notably Todd Mascis, Clara Bratt,
my brothers Matt and Jason, my mother Phyllis Jacoby, and especially my father
Gary King for his unfailing support, without which this thesis would not have been
possible. I am indebted to the Canada Council for the Arts for providing project
funding, and to the Alberta Human Rights and Citizenship Commission, who
have made important efforts to try and rectify human rights violations resulting
from the controversial nature of this work. Lastly, I extend my acknowledgements
to the various adversaries of the optative theatre, including (but not limited to):
Pat Donnelly and Lucinda Chodan of The Gazette, Jeremy Hechtman of the St.
Ambroise Montreal Fringe Festival™, and former Dean of Graduate Studies Dr.
Robert Mansell of the University of Calgary, all of whom have presented
formidable challenges and stimulating inter-performances.
v
Table of Contents
Approval page……………………………………………………………………….ii
Abstract………………………………………………………………………………iii
Acknowledgements…………………………………………………………………iv
Table of Contents……………………………………………………………………v
List of Figures
……………………………………………………………….……..vi
Introduction……………………………………………………………………1
Chapter 1: Critical (socio-theatrical) Theory……………………………..11
Chapter 2: The Spectacle……………………………………………….…16
Chapter 3: “Theatre” in the Spectacle ……………………………………22
Chapter 4: Invisible Theatre………………………………………..………48
Chapter 5: Spectacle & Oppression………………………………………62
Chapter 6: Clandestine Theatre…………………………………………...79
Chapter 7: The Counter-Spectacle…………..……………………………91
Chapter 8: Theatrical Revolution…………………………………………116
Chapter 9: Revolutionary Theatre………………………………………..125
Chapter 10: Revolutionary Theatre Cookbook………………………….160
Chapter 11: Optative Theatre..……………………………………………184
Chapter 12: Field Work…………………………………………………….206
Bibliography …………………………………………………………………251

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