New Documentarism on Stage: Documentary Theatre in New Times

Paget, Derek

doi:10.1515/zaa.2008.56.2.129

Cited by 6 publications

(1 citation statement)

References 6 publications

(3 reference statements)

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“…Documentary theatre “directly intervenes in the creation of history by unsettling the present” (Martin, 2006, p. 9). It provides the audiences with a platform for challenging official accounts and constructing alternative public accounts of important events (Paget, 2008). In the context of our paper, the event disputed is the 2011 London Riots (www.theguardian.com/news/datablog/2011/aug/09/uk-riots-data-figures).…”

Section: Methodsmentioning

confidence: 99%

Using performative knowledge production to explore marketplace exclusion

Burgess

Kelemen

Moffat

et al. 2017

QMR

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Purpose-This paper aims to contribute to understandings of the dynamics of marketplace exclusion and explore the benefits of a performative approach to knowledge production. Design/methodology/approach-Interactive documentary theatre is used to explore the pressing issue of marketplace exclusion in a deprived UK city. The authors present a series of three vignettes taken from the performance to explore the embodied and dialogical nature of performative knowledge production. Findings-The performative mode of knowledge production has a series of advantages over the more traditional research approaches used in marketing. It is arguably more authentic, embodied and collaborative. However, this mode of research also has its challenges particularly in the interpretation and presentation of the data. Research limitations/implications-The paper highlights the implications of performative knowledge production for critical consumer learning. It also explores how the hitherto neglected concept of marketplace exclusion might bring together insights into the mechanics and outcomes of exclusion. Originality/value-While theatrical and performative metaphors have been widely used to theorise interactions in the marketplace, as yet the possibility of using theatre as a form of inquiry within marketing has been largely neglected. Documentary theatre is revealing of the ways in which marketplace cultures can perpetuate social inequality. Involving local communities in the co-production of knowledge in this way gives them a voice in the policy arena not hitherto fully addressed in the marketing field. Similarly, marketplace exclusion as a concept has been sidelined in favour of marketplace discrimination

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Section: Methodsmentioning

confidence: 99%

Using performative knowledge production to explore marketplace exclusion

Burgess

Kelemen

Moffat

et al. 2017

QMR

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Verbatim Theatre

Garson¹

2020

The Wiley Blackwell Companion to Contemporary British and Irish Literature

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Belgesel Tiyatroda Karşı Duruş olarak Bellek The Laramie Project ve The Exonerated

Gül

2019

Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi

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Focusing on major differences between nostalgic and documentary memory in contemporary plays, this paper argues how The Laramie Project (2001) by Moises Kaufmann and The Exonerated (2002) by Jessica Blank and Eric Jensen reinvigorate the concept of memory as an alternative political stand on stage. Memory plays use historical documentation as a forerunner of their dramatic material. In this respect, The Exonerated tells the story of six wrongfully convicted death row inmates through testimonies of the freed convicts, court recordings, and other documents. The Laramie Project belongs to another category of verbatim plays, which is still centered on edited interviews and testimonies but it is characterized by the elimination of the protagonist. It reconstructs and rewrites the story of brutally murdered Matthew Shepard to question this tragedy and disclose the reasons for his murder, but Shepard himself is not represented as a character on stage. The Laramie Project is similar to The Exonerated, but their methodology and construction have fundamentally different incentives and elements. Their emphasis on identity politics and insistence upon a more extended public discussion of politics and social issues separates them from other genres and trends. The way memory is stripped of its nostalgic layers in these documentary plays aims to foster a new understanding of dramatic constructions while challenging mainstream accounts and shifting to side of the silenced figures. Although there is little overlap between the contents and messages of the plays, a key point in both of these works is their emphasis on current issues through a variety of memory forms. Their accent on harsh realities of history is especially pronounced when audience members are invited to witness the flaws of our society. It might be a wrongfully convicted person, a screened and scrutinized life of a transvestite, or a brutally murdered homosexual, but in the end, documentary drama shows us the urgent need to look back to understand the present. Our mistakes are all buried in the magical box of the past. They can be our guides for tomorrow as long as we do not glorify them.

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New Documentarism on Stage: Documentary Theatre in New Times

Cited by 6 publications

References 6 publications

Using performative knowledge production to explore marketplace exclusion

Using performative knowledge production to explore marketplace exclusion

Verbatim Theatre

Belgesel Tiyatroda Karşı Duruş olarak Bellek The Laramie Project ve The Exonerated

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