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Rewriting History: Narrative Resistance and Poetic Justice in Martin McDonagh’s A Very Very Very Dark Matter
Views:196Martin McDonagh’s A Very Very Very Dark Matter (2018) explores how the stories of exploited people have been written out of history. The play includes several storytellers, and it both replicates and deviates from the details of numerous existing narratives, including McDonagh’s own plays. Set in 1857, the play imagines that Hans Christian Andersen’s fairy tales were written by a pygmy woman from the Belgian Congo who has traveled back in time; Hans calls her Marjory and keeps her in a box in his attic. Eventually Marjory writes herself out of the box and departs for Africa to prevent the colonization of her people. Dark Matter compels us to question the narratives about the past that have become embedded in our culture and to uncover the facts that official accounts have altered or suppressed; rewriting history is acceptable only in imaginative storytelling, as an act of poetic justice. (JL)
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From Advocacy to Coercion: Public Opinion and Propaganda in the United States from the 1880s to the 1930s
Views:99Book review:
Auerbach, Jonathan. Weapons of Democracy: Propaganda, Progressivism, and American Public Opinion. Baltimore: Johns Hopkins UP, 2015. xii + 220 pages. ISBN 978-1-4214-1736-3. Hb. $49.95.
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Re-Running the Rising: Centenary Stagings
Views:61Drawing on his experience as an Irish Times Theatre Awards judge through 2016, the author analyzes a range of shows relating to the Easter Rising produced in Irish theatre in that centenary year. The aim is to show their variety of styles, realistic and experimental, but also the political viewpoints, whether belonging to a traditional nationalist historiography or its revisionist alternative. Some of the plays maintained the conservative representational dramaturgy so characteristic of much Irish drama, but more worked with dance, song, and video in theatrical mixed modes, including a radically innovative production of Sean O’Casey’s The Plough and the Stars at the Abbey Theatre. Site-specific shows sought to immerse audiences in the original experiences of the Rising, while the most formally experimental plays avoided direct representation altogether. The political positions were as varied as the theatrical styles from conventional nationalist hagiography to those which questioned the value and meaning of the Rising.