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Look forward in anger: non-orthodox structurein the works of Kane, Parks, and Morrison.Ruth, Alisonhttps://iro.uiowa.edu/discovery/delivery/01IOWA_INST:ResearchRepository/12730533900002771?l#13730795760002771

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LOOKFORWARDINANGER:NON-ORTHODOXSTRUCTUREINKANE,PARKS,AND

MORRISONby

AlisonRuth

AthesissubmittedinpartialfulfillmentoftherequirementsfortheMasterofFineArtsdegreeinTheatreArts(Dramaturgy)inthe

GraduateCollegeofTheUniversityofIowa

May2017

ThesisSupervisor:AssociateProfessorArtBorreca

Copyrightby

ALISONRUTH

2017

AllRightsReserved

GraduateCollegeTheUniversityofIowa

IowaCity,Iowa

CERTIFICATEOFAPPROVAL

____________________________

MASTER’STHESIS

_________________

ThisistocertifythattheMaster’sthesisof

AlisonRuth

hasbeenapprovedbytheExaminingCommitteeforthethesisrequirementfortheMasterofFineArtsdegreeinTheatreArts(Dramaturgy)attheMay2017graduation.ThesisCommittee: ____________________________________________ ArtBorreca,ThesisSupervisor ____________________________________________ KimMarra ____________________________________________ LisaSchlesinger ____________________________________________ MeredithAlexander

i

ToNinaMorrisonandLukasBrasherfons

ii

“Ifweaddedupallofwomen’sdepression–allourcompulsivesmiling,ego-tending,andsacrifice;allourpsychosomaticillness,andallourpassivity–wecouldgaugeourrage’sunarticulated,negativeforce.” JuliaLesage Women’sRage

iii

PUBLICABSTRACT

Thisthesisexaminestherelationshipbetweendramaticstructureand

women’sresponsestooppression.BylookingatBlastedbySarahKane,Father

ComesHomeFromtheWarsParts1,2&3bySuzan-LoriParks,andFéminaalbyNina

Morrison,Iexaminethewaysthatquestionsofstructurebecomequestionsof

gender.Iarguethattheseplays’formsarepurposefulembodimentsofresistance

andthattheenergeticconnectionbetweentheseplaysisacurrentofanger.

iv

TABLEOFCONTENTS

LISTOFFIGURES..………………………………...……………………………………………………………viiiINTRODUCTION…………………………………………………………………………………………….…….1BLASTED…………………………..………………………………………………………………………….……..7FATHERCOMESHOMEFROMTHEWARS……………………………………………………………17

FÉMINAAL………………………….……………………………………………………………………………...25

CONCLUSION…………………….………………………………………………………………………………35

BIBLIOGRAPHY………………………….…………..………………………………………………………….37

v

LISTOFFIGURES

Figure

1.NinaMorrison,Féminaal…………………………….….…………….……….….…………………….27

1

Introduction

ThisthesisexploresSarahKane’sBlasted,Suzan-LoriParks’FatherComes

HomeFromtheWars,andNinaMorrison’sFéminaalandlooksattherelationship

betweendramaticstructureandresponsestofemaleoppression.Whilethereis

muchscholarshipwrittenaboutKaneandParks,Morrison’sFéminaalhasyettobe

publishedandisrelativelyunknown.Regardlessoftheestablishednatureofthese

workseachofthemexemplifyhowdramaticstructure,likeotherconfiningsocial

structures,isprimedforonlyacertaintypeofpersonandstory.Theyilluminate

howshockstothissystemchallengenotonlydrama,butalsoothersystemsof

structurethatinfluenceourperceptionsofgender,race,andsexuality.

AstheoriginalproductiondramaturgforFéminaal,Iwasablenotonlyto

trackthedevelopmentofthescript,butalsototalkwithNinaMorrisonabouther

motivationsforwritingtheplay.WhatIremembermostvividlyfromour

conversationswasmyexcitementatfindinganartisticcollaboratorwhoseemedas

frustratedandimpatientasIdidwithcontemporaryplaysthatwerebafflinglytone

deaftoissuesofsexism.Evenmoreunsettlingwaswitnessingtheendlesspraise

thatseemedtobeheapedontheseworks.Asaresult,ourdiscussionsmovedback

andforthbetweenherplayandthecurrentpoliticalandsocialclimatewewere

makingtheaterin.IwasfascinatedandenergizedbyNina’sideasaboutsubverting

dramaticformsthatmaleartistsusedtocreateworkthatwasformallyexcitingbut

filledwithcontentthatfeltlikeanendorsementofthepowerimbalancebetween

menandwomen.ThroughthiscollaborationIbecamecuriousaboutthe

2

relationshipbetweenfeminismanddramaticform.Thus,mydevelopmentasanew

playdramaturgledmetoanewunderstandingofextantplaysbywomen.I

wonderedinwhatwaysotherwomenplaywrightswereusingformfortheirunique

ends.

Placingthesethreewriterssidebyside,thoughtwoareprominentmasters

ofthecraft,andoneisan“earlycareer”playwright,allowsmetoexploremy

strategiesasadramaturginplaysthatprovidemodelsforthistypeofstructurally

subversivestorytelling.Analysisofthesethreeplays,whichhaveneverbeen

examinedbesideoneanother,provideauniquewaytolookatwheredeviations

fromAristotelianstructurepointtothreadsthatsewresponsestosubsumedanger

intothefabricoftheplay.IaminterestedinhowKane,Parks,andMorrisonstep

outsideestablishedframeworksandwhythoseframeworksareillfittingfortheir

ambitions.Thisthesisarguesthattheseplays’formsarepurposefulembodimentsof

resistanceagainstoppressionandthattheenergeticconnectionbetweenthese

playsisacurrentofanger.

WhenIspeakofAngerinthistext,Iamusingthewordasacatch-allforthe

manycomplexreactionstoanhistoricaloppression.Theword“anger”hasitsroots

intheOldNorseword“angr,”whichmeanssomethingclosertogrief,sorrow,

distress,andagony.ItispartiallywiththisbroaderdefinitionthatIusetheterm,

thoughIhaveasensethatthewordforthelargenessoffeelingIamexploringdoes

nothaveaname.WhatIwanttotalkaboutis“anger”augmentedwithasenseof

resistancetooppression,chronicsilencing,andtheresultofamillionlargeand

smallpoliticalandpersonalslights.Iamnotonlyspeakingofangerinapersonal

3

sense.ImeanAngerinawaythatsuggestssomethinggreaterandtiedtohistory.In

general,Westernculturehasplacedasortofprohibitiononwomen’soutright

expressionsofanger.Iamexamininghowthesewomenuseplaywritingasawayto

unearthaphenomenonthatlivespartiallyunderground.

Thereislittledisagreementacrossdisciplinesthatapatriarchalsocietyhas

negativeeffectsonwomenandtheirabilitytofullyrealizeandexpressthemselves.

ScholarKristinBorgwalddescribeshowpatriarchalpressureenforcestheideathat

womenshouldbeselflesscaretakersandconsequentlytheirdesires,interests,and

voicesareignored.Thiscauseswomentonottrusttheirownjudgmentand

experience.Borgwaldwrites“Eithershedoesnottrustthatherthoughtsare

reasonableanddismissestheminternally,orshecommunicatesherthoughtswith

hesitationcausingotherstodoubther”(70).Thisisespeciallydetrimentalwhenit

comestoexpressionsofangerbecauseasPsychologistHarrietLernerdescribes,

angeris“amessagethatwearebeinghurt,thatourrightsarebeingviolated,that

ourneedsorwantsarenotbeingadequatelymet,orsimplythatsomethingisnot

right”(1)Inthewaythatphysicalpainalertsusthatthebodyisbeingharmed,the

painthatmanifestsitselfasangersignalsemotionalorethicaldamage.Lernerstates

thatanger“preservestheintegrityofourself”(1).Onapersonallevel,thisaffects

womendeeply,butonaculturalleveltheimpacthasbeenprofoundaswell.And

whileitispossiblethatthereareinherentorbiologicaldifferencesinthewayanger

isexpressedinmenandwomen,thereisnodoubtdiscrepancyinhowsocietyacts

towardsdisplaysofangershownbymenversuswomen.

4

AsfeministscholarJuliaLesagenotes,thereare“fewconceptualorsocial

structuresthroughwhichwe[women]mightauthenticallyexpressourrage....inthe

sphereofculturalproductiontherearefewdominantideologicalformsthatallow

useventothink‘women’srage.’”Inheressay“Women’sRage,”shepointstohow

theverysocialconstructionofgenderisoppressivetowomenandstateshowun-

revolutionaryAmerica’sconsciousnessisregardingwomen’srights.Shenoticesa

cultureandsystem-widedisenfranchisementthatcanonlyberevolutionizedwith

clearpoliticalarticulationsoftheragewomenfeelfromgrapplingwitha“colonized

mind”(Lesage).

Itisimportantheretodistinguishthesignificancebetweenrepresentations

ofangrywomenandexpressionsofwomen’sanger.Therearecertainlyworksof

dramathatshowcaseangrywomenandforbetterorforworsetherearemanythat

arehighlyvisibleinmainstreamculture.However,inlookingatthestructuresthat

containthosestories,thereisaquestionaboutorthodoxdramaticstructuresandif

theyencouragetrueexpressionofauthenticfeminineexperience.PlaywrightSarah

Ruhlhumorouslymusesabouttheconceptofthe“arc”indramaandasks,“dowe

thinkthearcisanaturalstructurebecauseofthestructureofthemaleorgasm”

(Ruhl,100EssaysIDon’tHaveTimetoWrite)?

InthistextIwillbeusinganAristotelianideaofstructurewhenIreferto

“orthodox”structure,whichisinthewhiteEuropeantraditionofstorytelling.I

acknowledgethatthisisnotauniversalformofwritingdrama,andIamapplying

theserulesofstructuretoallthreeoftheseplaywrights,includingSuzan-LoriParks,

5

whohasspokenaboutherworkcomingfromAfricanAmericanstorytelling

traditions.

TheenduranceandprevalenceofAristotelianstructurecertainlysuggests

thatAristotlewasdescribingsomethingalmostuniversalaboutthewayhumans

experiencestoryandcertaintruthsaboutthewaydramaworks.Whiletheremaybe

somethinginherentlymasculineabouthistypeofplaystructure,whatmakes

Aristotelianstructuresoripeforfeministupendingisitssanctioneddominanceover

Westerndrama.Whenstructure,dramaticorsocietal,becomesidentifiedasa

sourceofoppression,thenthesubversionofstructurebecomesanactofrevolution.

Inthecontextoflivingunderpatriarchalstructuresandsystemsofoppression,the

formthatthestoryresidesinisattheveryheartoftheartmaking.Questioningthe

veryconceptoftheconstructionofthestorieswetellasaculturebecomeslinkedto

personalexpression.

OnastructurallevelanAristoteliannarrativeillustrateshowmaleangeris

perceived:itislinear,tolerated,andthereisweighttoit.Menholdthepowerand

thustheirheightenedfeelingshaveconsequence.Forexample,theHero’sStoryisso

ingrainedandubiquitousinWesternculture(andmaybeespeciallyAmerican

culture)thatithasbecomeinextricablylinkedwiththenationalnarrative.By

contrast,thereisnopervasiveHeroine’sstory.

Becausethisformatforexpressingangerispossiblymoreaccessibleformen,

andnotwomen,forthrightarticulationsofragebecomedistorted.Theconstruction

ofstoryaffectsmeaningandunderstanding,andthusisamatterofdeep

significance.InthistextIwillexaminehowSarahKane,Suzan-LoriParks,andNina

6

Morrisoncraftedtheirworkandwhatrelationshipthatstructurehaswiththis

conceptofAngerasaresponsetooppression.

7

Blasted

ThefirstofSarahKane’sfiveplays,Blasted,premieredonJanuary12,1995at

theRoyalCourtTheaterinLondon.Reviewsoftheplaywerefamouslyand

predominantlynegative.JackTinkeroftheDailyMaildescribedtheplayas“a

disgustingfeastoffilth”andNickCurtisoftheLondonEveningStandardwrotethat

theendoftheplaywas“asystematictrawlthroughthedeepestpitsofhuman

degradation.”TheplaywassomisunderstoodthatKanewaslabeledasnotonlya

talentlessplaywright,butdisturbedandmentallyill.However,notlongafterthese

initialreviews,theplaywasre-evaluatedandsomecritics,includingMichael

BillingtonofTheGuardianopenlyadmittedthathe“gotitwrong”inhisfirstreview

andhadincorrectlyjudgedKaneandherwork.ThoughBlastedisnowrecognized

foritsingenuity,itisnothardtounderstandthebewildermentandknee-jerk

rejectionofthecriticswhofirstencounteredthispowerfulandaggressivepieceof

theater.

BlastedbeginswithCateandIanenteringafancyhotelinLeeds,England.Ian

isajournalistinhisfortiesandCateisyoungeranddoesnothaveajobotherthan

takingcareofhermotherandbrother.Ian,withhelpfromarevolverhecarries,

forcesCatethroughaseriesofdegradingsexualactsandafterherapesCateinthe

night,Cateescapesoutofthebathroomwindow.Asoldierinvolvedintheon-going,

unnamedconflictoutsidethehotelknocksonthedoorandafterthreateningIan

withhisrifle,rapesIanandeatshiseyeballs.Afteranexplosionthatleavesthehotel

roominruins,theplayendswithCatefeedingIan,whoisstarving,blind,anddying.

8

Ina1998interviewwithDanRebellato,SarahKanedescribestheconnection

betweenBlastedandtheBosniancivilwar,whichwashappeningwhileshewas

writingtheplay.Whileshehadalreadydeterminedthattheplaywouldbeabouta

rapethatoccurredinahotel,severaldaysintowritingthescriptsheturnedonnews

coverageabouttheBosnianwarandsawaSrebrenicawomanweepingandbegging

forhelpfromtheUnitedNations.Shedescribeshowthe“pennydropped”inthis

momentandsherealizedthelinkbetweentherapeshewaswritingaboutandthe

ongoingwarshewasseeingviolentimagesofonthetelevision.Shenotes,inaquote

thatisoftencitedindiscussionsaboutBlasted,that“oneistheseedandtheotheris

thetree.”Understandingtheconnectionbetweensenselessrealworldcruelty,the

violenceofthecharacters’actions,andtheturbulentstructureoftheplaysnapsthe

playintofocusandprovidenecessarycontexttounderstandingthework.Thishelps

usseethattheatrocitiescommittedintheplayarereflectionsoftheviolenceofthe

timeperiod.Whilecriticsmayhavemusedthattheviolenceintheplaywasthe

creationofatroubledmind,theconnectionswiththeBosnianWarremindusthat

oneonlyneedtolookanewspapertoseethesourcematerialfortheplay.The

significanceoflarge-scaleatrocitygrowingfromsmallermomentsofbrutality

greatlyinformstheplay’sform.Thepurposefulinstabilityofform,somethingthat

feelsuniquetoKane’swriting,mirrorsareal-worldexperienceofdangerand

unpredictability.

ThoughKanemaynothaveconsciouslyknownmuchofthecontentbefore

shestartedwriting,shedetailsclearlythatshehadexplicitgoalsfortheformofthe

play.Sheexplains:“IthinklargelywhathappenedwasthatwhatIattemptedtodo,

9

andprobablysucceeded,wastocreateaformforwhichIcouldn’tthinkofan

obviousdirectprecedentsoitwasn’tpossibletosay:‘Thisformisexactlylikethe

forminaplaywritten20yearsago.’Iwantedtocreateaformthathadn’thappened

before.”Indeed,shesosucceededincreatinganewformthatthenoveltyand

unfamiliaritywasthreateningtotheplay’sfirstaudiences.Thereisastriking

boldnessisherstatement.Thereisanexcitingaudacityinclaimingcomplete

originalityofform,butthestatementalsopointstoanawarenessoftheinadequacy

ofothertypesof“known”forms.

OneofthemoststrikingwaysthatKanesubvertstraditionalstructureisin

craftingaplotthatdoesnotprogressinstepsthatshowacauseandeffect

progression.Aplaythatopenswithonecharacter(Ian)verballyberatingand

physicallyassaultinganothercharacter(Cate)invitesustoexpectaproportionate

reactionfromthevictimizedcharacter.Weimaginethatreactiontobewhatwill

movetheplotforward.Whatwehavebeentaughttoexpectentersthetheaterwith

us,andsowhatweendupseekinginthisplayisCate’sangerandasubsequent

actionthatwillupendthepowerdynamicsofthisrelationship.Theaudienceseesa

pebblethrownintothelake,andexpectstoseearipplelaterintheplay.However,in

therefusaltomeetourbiggestingrainedexpectation,wearegiventhequestion:

WhereistherecognitionofCate’sanger?Whenarippleappearsattheotherendof

thelake,wherethepebblewasn’tthrown,theaudienceislefttowonderaboutthat

firststone’seffect.Whereisthereactiontothataction?NotonlydoesKaneamplify

theabsenceofconsequenceofCate’sanger,shemanifeststhatrageintheformof

unsatisfyingnon-eventselsewhereintheplay.

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Oneofthemostnoticeableofthese“nonevents”isinthesecondscene,when

CatebitesIan’spenis“ashardasshecan”whilehavingoralsexwithhim(31).This

occursthemorningafterIanhasrapedher.Thestagedirectionsdescribethatthe

biteoccursatthepointofclimaxandIanscreamsinpainand“triestopullawaybut

Cateholdsonwithherteeth”(31).Thoughthismomentmighthappeninthespirit

ofrevenge,asitoccursaftersomuchabusehasbeenheapedonCate,andmay

appeartobetheimmediateeffectofIanrapingCate,itdoesnotactuallyoperate

dramaticallyasan“event”intheplaythatiscapableofprovidingtheaudiencewith

asenseofjusticeorlogic.Thismomentdoesnotmarkaturningpointforeither

character,nordoesitappeartohavemuchconsequenceontherestoftheplay,or

evenfortherestofthescene.Infact,conversationbetweenthemcontinuesandthe

violencethatjustoccurredisleftunremarkedon,asifithadn’thappenedatall.

Cate’sfirstwordsafterthismomentareaboutIan’swork:“Youshouldresign”(31).

ThismomentpromptsafeelingevenmoreunfamiliarthanaBrechtiandevice–the

strangehasbeenmadetoseemevenstrangerthanitis.Kaneensuresadistancing

fromthesecharacterswithactionsthatseemneithermeaninglessnormeaningful.

Kaneplayswiththestereotypeofthe“castratingfemale”inthisdepictionof

afailedcastration.HarrietLernerwritesthatthelabelof“castratingbitch”hassuch

powerthatitencourageswomentoavoidexpressionforthefearofbeinginsultedin

thisway.Shestatesthatlabelslikethese“mayhavethepowereithertoshockus

intosilence,ortofurtherinflameusbyintensifyingourfeelingsofinjusticeand

powerlessness”(8).Withthegrotesquerepresentationofthisact,Kanemocksboth

ourexpectationsandtheclichéitself.Again,thereissignificanceinthefactthatthis

11

momentofforthrightexpressionisconsequence-less.ItseffectisonlyIan’s

temporarydiscomfortandthoughithascreatedmomentaryspectacle,itis

ultimatelyuselessinchangingCate’scircumstance.Ithasfailedpracticallyand

symbolically.

WhentheimpactofCate’sactioncanonlybeintuitedthroughtheIan’s

experience,theactionisrobbedofgrandermeaning.Kanehassetupthe

specificationsofthismomentof“revenge”togiveCatetheleastamountofpower

possible.Notonlyistheactofviolencenotliterallycreatablebecauseoftheintimacy

ofthebodypartsthatwouldneedtotouch,theveryactofabiteistoosubtleforthe

stage.Asopposedtoapunchorakick,whichplacesthestorytellingburdenonboth

theperpetratorandvictim,theviolenceofbitingapeniscanonlyberelayed

throughobservingIan’sorgasmicpain.Thereisasubtle,butsignificant,difference

betweenseeingIan’sexperienceandtheninferringCate’sactionversusseeingthe

wind-upofherintentandthentheconsequencesofheractions.Whathasbeendone

toIan’sgenitaliaholdsthespotlightandnotthefeelingthatCatehastriumphed.

Intensificationiscreatedthroughtheconfusedandperplexedanticipation

broughtonbythismoment.Wemayfeeldisappointednotbecausewefeel

particularlystronglyforCate,Kaneintentionallydoesnotendearhertothe

audience,butbecausewehavebeendeprivedastorylinethatwouldmakesome

senseofthisworld.Thereiscomfortincauseandeffect,inconsequencesforactions.

Furthermore,thereissomuchthatisunsettlingaboutthedisproportionatedoling

outofabusethatthereisagrowingsensethatthisworldisnottenable.Infact,it

maynotbethewitnessingofsuchverbalandphysicalabusethatcauseshorror,but

12

thattheatrocityisone-sided,withoutconsequence,andescalating.Andagain,not

eventheconstructionofthestoryis“safe.”Thereisnopredictabilityinthis

structure,thewaytheremightbewithalinearnarrative.Asaresult,ourgriponthe

playbecomesintuitive,ratherthanliteral,andtrustcanincreasinglybeplacedon

thesensory,ratherthanthecerebral.

Inanothermoveofunpredictability,thesoldierentersthehotelroom,

bringingwithhimaswiftchangeinpowerdynamics.WhenCateescapesthehotel

roomthroughtheoff-stagebathroomwindow,sheisimmediatelyreplacedbythe

Soldier.TheSoldierbecomesIan’snewpartnerintwosensesoftheword:scene

partnerandsexualpartner.Thischaracter’srelationshipwithanger,however,ison

theotherendofthespectrum.WhileCatewasstuttering,epileptic,andweak,the

soldierisaggressive,forceful,anduncontrollable.Heflauntshiswartalesofsexual

atrocity,scarfsdownfood,beforestandingonthebedandpeeingalloverthe

pillows.TheseeasyexhibitionsofdominanceleadtothesoldierrapingIan,and

suckingoutandeatinghiseyeballs.Themasculinequalitiesofaggression,

dominance,andanguisharecollidedtogetherasthesoldierliterallysprayshimself

aroundtheroom,markinghisterritory:firstwithhisurine,thenhissemen,and

finally,hisbloodwhenhekillshimself.TheseactsareenactedonIan,thoughthere

isapurposefullackofsenseinthewaypunishmentisgiventohim.

Thesoldier’seasytakeoverofpoweralsosignalsadiscussionaboutgender

thattheplayisinengagingin.ThereisaglaringlackofequalitybetweenCateand

Ian,butthesoldierclaimsimmediatedominanceoverIan.Whatmakesthegender

dynamicssoovertinthissceneisthatholdingpowerisreliantnotonthestrengthof

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personalityorintelligence,butonthesizeofone’sgun.Theirmasculinityis

symbolizedwiththesekeyprops.JillDolanmakesthispointinherreviewofSoho

Rep’s2009productionofBlasted,notingthatinthisworld“onlythesizeofone’s

gunbestowsauthorityandpower.”Ian’srevolver,whichhadoncebeenusedto

coerceaweaponlessCateintosexualacts,isofnousewhenthesoldierwalksin

withalargemilitaryrifle.Andiftheseweaponsarephysicalizationsofmasculinity,

itissignificantthattheyaredevicesofdestructionthatonlyhavethepowerto

threatenandkill.ThesoldiereventuallykillshimselfwithagunandIantriestokill

himselfthesameway.

Whilethemalecharactersengageinself-destructionthatleadstotheir

deaths,Catereturnssomehowstrongerthanshewaswhensheleft.JillDolanmakes

thepointthat“astheplaygrowsevermoregrisly,shealoneofthethreecharacters

–andtheonlywoman—findsherstrength.”ItisCatewhotakesthebulletsoutof

Ian’sgunandthisactpreventshimfromcommittingsuicide.Heractioncarries

symbolismandimageryofIan’srapeofCate.Nowinthepositionofpower,Cate

onceagainremovestheammunitionfromIan’sgun,butthistimeitservestopunish

Ian.HebegsCatetohelphimdieandallowhimthereliefandrespiteofdeath.

Instead,inanendingthatmixescrueltywithtenderness,Cateishisnurturer.She

endstheplayfeedinghim.

Bytheendoftheplay,wedon’twitnessacleararticulationoran“event”that

demonstratesCate’sagency.Butwhatwedostarttosenseisthestrangerealization

thatCate,shockingly,seemstobegainingstrength,evenastheothercharacters

weakenandself-destruct.JillDolannotesinherreview,“Cateendsupthesurvivor,

14

andupendsthepowerbalancebetweenherandIanbybecominghisprotectorand

nurturer,reversingtherolesandexpectationsKaneestablishesatthestart.”

WhilewearedeniedamomentofCateeruptingwithangeroremotion,the

playdoesprovideamemorableexplosion.Theexplosionisthefirst“promise”that

theplaydeliverson.Despitethefactthatwewerenotexpectingitinthismoment,

somethingwasgoing“break”inthishotelroom.Weknewsomethinginthisplay

wasgoingtobeblastedandfelttheneedforadisruptionoftheeventsonstage.The

stagedirectionsforthismomentincludetheonlymentionofthetitle.Atthetopof

scenethreewesee“Thehotelhasbeenblastedbyamortarbomb”(39).Wewere

waitingforCate’sdestructiveeruption,butinasimilarsubversivemove,Kane

insteadgivesusanother“effect”thatbothdeniesCate’sexpressionofangerand

eschewsthetraditionaldramaticform.

TheentiretyofBlastedcouldbeinterpretedastheshortestsentencethat

Kanecouldwritethatmightexpressherrelationshipwiththistypeofturmoil.Inthe

Rebellatointerview,shewasasked“Whodoyouwritefor?”Herresponsewas:

Me.I’veonlyeverwrittenformyself.Infact,thetruthisthat(suddenlyfeela

bitstrangehere)I’veonlyeverwritteninordertoescapefromhell.Andit’s

neverworked.But,attheotherend,whenyousitthereandwatchsomething

andthink:‘Well,that’sthemostperfectexpressionofhellthatI’vefelt’,then

maybeitwasworthit.I’veneverwrittenanythingforanyoneelse.(Kane)

ThereisnodoubtingthatBlasteddepictsahellishlandscapeandcharactersthat

participateinhorrificacts.IcouldneverclaimtoknowwhatSarahKanetruly

meanswhenshesaysshe’sonlyeverwrittensothatshecould“escapefromhell.”

15

Whatwedoknow,however,isthatoutofthedesiretoexpressherpersonalhellasa

waytoescapeit,andtoholdthatcreationinaformthathadnotyetbeenseen,

Blastedwascreated.Theviolencethatsurroundsandinhabitsthisplayexistsin

boththeformandthecontent.Somuchoftheplayisfraughtwithpainandcruelty

andyetthefinalmomentoftheplayisoneoftenderness.Theconfusingending,

whererainfallsinthehotelroomandIanhasthefinalwordsof“ThankYou,”isa

conclusionthatfeelsalmostbuoyant.Itisnotexactlyhopefulorsweet,butthereisa

delicacyinthisending.KaneisnottheSoldier–strong-armingtheaudienceinto

watchingherplayofatrocityandgorebeforedevolvingintoself-destruction.She

hasgivenusamorecomplicatedHelltograpplewith.Itexistsonearthanditisso

destructive,sofullofintimacyandhatredandhumanity,thatitcanbe

representativeofphysicalwarsaswellasinternalones.

WhileBlasted’swarpedformtellsastorythatfeelsstructurallyalien,though

emotionallyurgentandfamiliar,Suzan-LoriParks’FatherComesHomeFromthe

Warsmakesuseofstructureasawaytohighlightthewayhistoryandlearned

narrativeformsexcludecertainvoices.UsingthebackdropoftheCivilWar,Parks’

workilluminatesthesilencingofblackwomen’sexperiencesinhersubversiveuse

ofAristotelianstructure.InFatherComesHomeFromtheWars,thestructuremay

feelsimilar,butthedramaturgyworksnottocompletetheHero’sjourney,butto

bringtolightanexperiencethathasnothistoricallybeenglamorizedinthe

traditionaldramaticstructures.

Onastructurallevel,ParksandKane’sincorporateangeragainstoppression

differently.WhilethestructureitselfisdisruptiveinBlasted,FatherComesHome

16

FromtheWarsmakesitsargumentinanintellectualandformallytrack-ableway.

Ratherthanblowinguptheconventions,shebendsandmanipulatestheminservice

ofherstorytelling.HerstructuralsculptingisasinnovativeasKane’s,buttherules

shebreaksleadtoamoresubtledisturbance.

17

FatherComesHomefromtheWars

Suzan-LoriParks’sFatherComesHomefromtheWars(Parts1,2&3)isthe

beginningofa9-partplayaboutlifebeginningin1862andmovingtopresentday.

Parts1,2,and3premieredatThePublicTheaterinNewYorkCityinOctober2014.

Reviewsofthefirstproduction,whichwasdirectedbyJoBonney,were

overwhelminglypositive.NewYorkTimes’sCharlesIsherwoodevenmentionedthat

it“mightbethebestnewplay”hehadseenallyear.

SetinTexasduringtheCivilWar,Parts1(“TheMeasureofaMan”)and2(“A

BattleintheWilderness”)tellthestoryofHero,aslavewhomakesthedecisionto

gotowarwithhisslavemasterandfightfortheConfederatearmy.Heleaveshis

partner,Penny,attheplantationwithotherslavesincludingtheone-footedHomer,

whoisalsoinlovewithPennyandwhowelearnoncetriedtoescapetheplantation

onlytobecaughtwhenHerotoldtheBoss-Master-Bosswherehehadrun.Upon

beingcaught,Hero,followinghismaster’sorder,choppedoffHomer’sfoot.During

thewar,HeroendsupfreeingacapturedUnionsoldier,hisBoss-Master-Bossdies,

andhereturnshomeafreeman.ThoughParts1and2ofFatherComesHomeFrom

theWarsfocusonHero,Part3(“TheUnionofmyConfederateParts”)focuseson

Penny,thesolefemalecharacter,anditistheconstructionofherstorythat

ultimatelydisruptsournarrativeexpectationsfortheplay.

Parts1and3oftheplaymirroreachotherastheybothopenwiththesame

urgentquestion:WillIstayorwillIgo?InPart3,asagroupofrunawayslaves

preparestocontinuetheirescapeNorth,Pennycontemplateswhetherornotshe

18

willjointhegroup,whichwillprobablyincludeanundecidedHomer,butonlyif

Pennyiswithhim.LikeHero,Penny’stickingclockismarkedbylight:shemust

makeherdecisionbeforethesungoesdown(therunawayswillfleeunderthecover

ofdark),whileHerohadtomakehisdecisionbeforethesuncameup(hismaster

willleaveforthewarfrontatdaybreak).Pennyistornbetweenstayingandleaving,

betweenslaveryandfreedom,becausesheisinlovewithHeroandstillbelievesthat

hewillreturnhometoher.WhileweeventuallylearnthatHerohasnotbeenfaithful

toPennyandhasmarriedanewwomannamedAlberta,atthetopofthescene

neithertheaudiencenorPennyisprivytothisfact.Penny’smisplacedcommitment

toHeromirrorsHero’sconfusingloyaltytohisenslaver.However,akeydifference

hereliesinthecarefulplacementofthedisclosurethatHerohasmarriedsomeone

new.Parkshaspurposefullynotpreparedtheaudienceforthisrevelationsothat

HerocanbeshatteredforPennyandtheviewerinthesamemoment.Uponhearing

theirheartbreakingexchange,theideaofHeroisaheroisdestroyed.Aftertaking

outasmallphotographofAlbertaandshowingittoPenny,themomentunfolds:

ULYSSESHername’sAlberta.TheMissuswillbringheroverhereinacoupleofdays.PENNYShe’spretty.Whoisshe?ULYSSESAlberta.She’sanicegal.Realnice.PENNYWhoissheasidefromnice?ULYSSESShe’smynewwife.PENNY

19

New—HOMERNewwife?PENNYI’m—ButI’m—ULYSSESYouandme,Penny,wedon’thavenokids.Can’t,right?You’restilljustaspretty,justasstrong,butIwasthinkingitwouldbegoodtohavechildren.Iwasthinking—Iknowyou’llunderstand.You’regoodandtruelikethat.Alberta,she’llhelpyouaroundhere.Whenplantingtimecomesshe’lldoherpartandworkrightalongbesideyou.AndwithHomerheadingout,we’llneedanextrahand.She’llbeahelptobothofus.PENNYButI’m–me. (Parks148-149)

Thislatesurpriseofinformationshiftstheplay’sgazefromHerotoPenny.Inthe

finalminutes,theaudience’ssympathyandattentionisplacedonPennyandthe

suspenseofwhetherornotPennywillleaveinstantlydoubles.

ThisalignmentbetweentheaudienceandPennyissignificantbecause

suddenlywearewitnessingunwrittenhistory.WearenotwatchingPennydiscover

thesadfactsthatwillshapeherlife,wearewatching“inrealtime,”inpresenttense,

asshelearnsthatshewasnaive,herloyaltyhasbeenbetrayed,andthatshemust

leavetheplantationwiththeotherrunawayslaves.Bycontrast,thoughHerobegins

withthesamequestionthatPennywrestleswithinPart3,toleaveornottoleave,

becausethetitleoftheplayinformsusofitsending--fatherwillcomehomefrom

thewar--thereisadifferentlevelofsuspense,andperhapsinvestment,inthe

decisionmaking.

20

ParksalsocomplicatesthecongruencebetweenHero’sjourneyandPenny’s

journeybydrawingaparallelbetweenHeroandtheslavemaster.Eventhoughthe

Boss-Master-BosspromisedHerohisfreedomasanincentivetojoinhiminthewar,

therecannevertrulybestockinthetrustworthinessoftheslaveowner.AsHero

grappleswithhisdecisionandsortsthoughcomplicatedideasabouthisown

identity,thoughwearefascinatedandseektounderstandhisideaoftruth,the

validityoffollowinghismastertowarandfightingfortheConfederatearmy

remainssuspicious.Wehavethebenefitofhistoryandknowthatweareonly

monthsawayfromtheabolishmentofslavery.Theplayopensinthespringof1862

andtheEmancipationProclamationwassignedinthewinterof1863.Andevenif

wedon’trecognizethesignificanceofthedates,weknowhowtheCivilWarends

andthattheConfederacywillbedefeated.

WeareremindedofthisdistrustwhenPennyhastochoosebetweenheading

Northwiththerunawayslaves,ajourneynodoubtfullofdangeranduncertainty,

butthatwillleadtofreedom,andstayingattheplantation,adecisionthatresultsin

continuedenslavement,buthasthechanceofareunionwithHero.Evenbeforewe

learnofHero’snewmarriage,theechoofhissituationinthefirstscene

reverberates.WithPennyhavingtochoosebetweenthesetwoperilousoptions

(freedomorslavery),HeroreplacestheBoss-Master-BossasOppressor.Penny’s

loyaltytoHero,herenslaver,isagainwhatmakesthedecisionsofraught.Through

thisdisplacement,ParkscreatestheanalogybetweenMan/Womanand

Master/Slave.

21

ThiscomparisonilluminatesthelayersofoppressionthatPennylivesunder.

Notonlydoestheplaysetupaclearhierarchyofstatus,italsoengagesin

discussionsofpeoplebeingascribedworth:monetarilyandphilosophically.InPart

2,HeroandSmith,apassing-for-whiteblackmaninthe1stKansasColoredInfantry

havethefollowingexchange:

HEROHowmuchyouthinkwe’regonnabeworthwhenFreedomcomes?Whatkindofpricewegonnafetchthen?SMITHWewon’thaveaprice.Justliketheydon’t.That’llbethebeautyofit.HEROWhere’sthebeautyinnotbeingworthnothing?.....HEROSeemsliketheworthofaColoredman,oncehe’smadeFree,islessthanhisworthwhenhe’saslave.

(Parks95-96)

ThereisanuneasylogicinHero’scommentsconsideringtheterribleknowledge

thatevenwithslaveryabolishedandoveracenturyofdistance,theperceived

societal“value”ofthedescendantsofslavesversusslaveownersisnotequal.The

themeoftheeconomicsofhumanlife,applicabletoboththe19thcenturyandtoday,

alsoservesasareminderwherePennyissituated.Theplaypresentsanorderofthe

structureofwhoanswerstowhom.Godisatthetop,thenthewhiteSlaveOwner,

thenHero,theblackmaleslave.PennyisbelowHero,andherstationasafemale

slavemarksherashavingtheleastworthandbeingtheleastexpensiveofeveryone.

Thisisunderscoredbyhername:sheisliterallylabeledasonecent.

22

Hero,ontheotherhand,hasanamethatconnotesgreatworth.Hisname

carriesassociationsthatpromotehigh,yetpredictable,expectationsforhim.Ontop

ofthat,themanyreferencestoHomer’sTheOdysseyleadustosurmisethatHerois

theOdysseusofthisnarrative.EvenwhenhisnamechangesinPart3andhe

becomesUlysses,afterUnionGeneralUlyssesS.Grant,hehassimplymadethemove

fromafictionalherotoanhistoricalone.Andwhile,infact,heistheprotagonistof

thisplay,Parks’subversivestrategiesatworkattheendoftheplayupsetour

assumptionsaboutwhatwetakeandcarryforwardastrueandcorrect.Byusing

labelsandscaffoldingofhistoryandstoriesthatareknownandsanctioned,the

switchoffocustoPennyattheendoftheplayhighlightsherlackofhistoryand

recognitionandpointstotheseparatedifferencesinwhatfreedommeansforPenny

andHero.Theplayendswiththeironythatslavesmaybefree,butPennyisnot.

Thereisnolawthatcandecreeillegalthepowerdynamicsthatcontrolgenderroles.

AsinAmericanhistory,themaleHero’sjourneyoccupiesthespotlightandis

takenasauniversalforhumanexperience.Penny’sidentityasaslavewomangives

thelastsectionoftheplayitsmainevent,disruptingadramaticandhistorical

structureandstorylinethatwehavebecomecomfortablewith.Hero’sjourneyis

welldocumentedandknownwhilePenny’sjourneyisunknownandopen-ended.

ThereisnoHeroine’sjourney.Becausewestartwiththeend:Herowillcomehome

fromthewar,thequestionoftheplaybecomes:Whathappenswhenhedoes?

BydisruptingtheHero’sjourneyattheendoftheplay,Parkshasdeniedthe

audienceanAristoteliancatharsis.WhilethestoryofHerocompletinghisjourney

homeandgettinghisfreedomissatisfiedandcomplete,Penny’sstoryisnot.

23

Throughthissubversionofexpectations,weseetheblindeyethatAristotelian

structureturnstowardawoman’sexperience.Ina1994interviewwithHanOng

publishedinBOMBmagazine,Parksdescribedherrelationshipwithformand

content:

Ihonestlybelievethatformandcontentarethesamething.Insteppingout

ofthe,“I’mablackperson,I’moppressed,andwhenIrepresentmyselfon

stage,I’mgoingtorepresentanoppressedperson,”youarealsostepping

outsideofaparticularform.(Parks)

Parks,awarethatthecontainerthatholdshermessagecarriesamessageitself,is

sensitivetostructuresthatmerelyreproduceoppression.FatherComesHomeFrom

theWarscapitalizesonhistorytoplaywithourexpectations.Theaudiencedoesnot

gettoexperienceaproductionthatpromotesentertainmentandletstheaudience

offofresponsibilitiesofchallengingthestatusquo.Herplaycallsattentiontothe

absurdityandfictionalnatureofhistoryandworkstocorrectmisrepresentationsof

blackAmericansandthesilencingofblackslavewomen,whohavebarelyeven

madeitintothehistorybooksasanasterisk.

WhereSuzan-LoriParksskewershistoryforitsracialandgender-related

injusticeswithcarefulandmeasuredsubversion,NinaMorrisonupendsformal

parameterswithasimilarbraveryandenergybutwithdifferentemotionaland

tonalstrategies.FatherComesHomeFromtheWarsusesdramaandgravityto

commentonhowwomenareignoredinthenarrativeofhistorywhileFéminaaluses

thestrategiesofhumorandlevityforthesameends.FatherComesHomeFromthe

24

Warsdoesn’tallowustoenjoyaHero’sjourney,whileFéminaalallowsustohave

funinahistorythatneveroccurred.

25

Féminaal

NinaMorrisonwroteFéminaalin2015anditwasproducedintheUniversity

ofIowa’sgalleryseriesinthesameyear.Thestoryoftheplay,seenthrough

disjointed,almostrearrangeable,Epic-stylescenes,isfocusedaroundKlara,a

photographer,andMadeline,apopsinger,whobecomeacoupleatthebeginningof

theplaywhenKlaratakesapictureofMadeline,whichlaunchesMadelineintofame.

Overthecourseoftheplay,dallianceswithotherwomencauseMadelineandKlara

tofallinandoutoflovewithoneanother.Eventually,Madelineleadsafullcastsong

anddancenumbertogetKlaraback.Klararejectsherandtheplayendswith

MadelinerunningofftofollowKlara.Thisstorylineisbrokenupwithscenesfrom

presentdayIowaCity,wheremodernwomen,BettyandJanediscusstheirfeelings

onhowwomenarerepresentedinfilm.Attheendoftheplay,BettyandJane(who

intheUniversityofIowaproductionweresittingintheaudience)jointheother

charactersonstageandparticipateinthefinalsonganddance.

Servingasthedramaturgfortheproductionplantedtheseedsofthisthesis.

Whiletherearemanyplayswrittenbywomenthatexperimentwithform,Féminaal

isnecessarytothisthesisbecausenotonlydoestheplayexplicitlydiscusshow

womenaremanipulatedbyform,itallowsmetousemyownexperienceasa

primarysource.Workingwiththeplayandplaywrightsocloselycausedmetosee

howananger-basedagendafromawomanmanifesteditselfintoaplayofsuch

spiritednessandpleasure.Féminaal’sflippantcharactersandhumoroustone,

thoughdelightfulandenjoyabletowatch,areintentionalactsofrevolutionary

26

playwrighting.ThefactthatMorrison’s“AngryYoungWoman”lookverydifferent

fromtheso-calledAngryYoungManissignificant.

HavingthebenefitofknowingNinaandbeingabletotalktohergrantsme

accessthatIdonothavewithSarahKaneandSuzan-LoriParks.Ninaissucha

usefulexampleofafemaleplaywrightusingthemediumoftheatretoconveyanger,

notonlybecauseofthestrengthofherwork,butbecauseNinahassuchastrikingly

congenialpresence.Whilediscussionsoftheartist’spersonalityandintentionsmay

notalwaysberelevanttodiscussionsoftheirwork,inanexaminationofthe

relationshipbetweenstructureandpsychology,itisworthbringingup.

Thereisaudacityinmakingotherpeoplewatchamanifestationofyour

perspectiveandoneoftheartisticintentionsofFéminaalwastobeovertly

obnoxious.Ofcourse,thisiswhatcreatingartisallabout,butitcanbewearyingto

lookatsomuchworkthatveryclearlyhasnotbeenmadeforyou.Navigatingthe

experienceofsimultaneouslyloving,appreciating,findingmeaninginandfeeling

alienatedfromworksoftheaterorfilmiscommonplaceandautomaticformany

women.Itmayalmostfeelreflexivetocompartmentalizethecomponentsthatyou

arefascinatedbyfromovertonesorinstancesofsexism.Infact,thecollective

toleranceofsexismissohighthatitoftenfeelsobviousor“tooeasy”topointout

misogynyinthedramaticarts.Whenthebaselineofsexismissohigh,feminist

critiquesofonlythereallyegregiousworkareendured.Morrison’sexhaustionwith

continually,evenin2015(whentheplaywaswritten),havingtoviewtheaterasif

themasculineperspectiveweretheuniversalperspectiveledtothecreationof

Féminaal.

27

AGREEMENT TO VIEW PERFORMANCE IDENTIFYING AS A WOMAN

This AGREEMENT TO VIEW PERFORMACE IDENTIFYING AS A WOMAN

(the “Agreement”) is entered into this __ day of _________, 20__ by and between NINA MORRISON (“Playwright”) and ________________ (“Viewer”) in relation to attendance of Féminaal (the “Performance”).

W I T N E S S E T H: WHEREAS, Playwright acknowledges (i) certain viewers of the Performance

may not identify as a woman and (ii) certain viewers may identify as a woman, but may be inclined to view the Performance through a masculine or male lens;

WHEREAS, the Performance shall only be viewed as a woman; and

WHEREAS, Playwright must protect the sanctity of the Performance from the male gaze.

NOW THEREFORE, in consideration of the benefits to be derived from the attendance of the Performance the parties to hereby agree as follows:

1. Playwright Indemnity. Viewer shall indemnify and hold harmless

Playwright and Playwright’s agents, representatives, actors, stage hands, family, neighbors, and cats for any loss of enjoyment or understanding of the performance due to Viewer’s failure to view the Performance as a woman.

2. Right of Removal. If, in Playwright’s sole perception, Viewer appears to view the Performance as a man or from a masculine perspective, Playwright shall have the right to remove Viewer from the Performance.

IN WITNESS WHEREOF, the Viewer executes this Agreement as of the date first listed above. VIEWER SIGNATURE:

Fig.1,TheContract,Féminaal

28

OneofthemostpointedwaysthatMorrisonforcesare-envisioningof

theateristhroughtheuseofacontractstatingthattheaudiencemustagreetoview

theperformanceofFéminaalasawoman(SeeFigure1).Thisisaphysicalpieceof

paperthatishandedtoaudiencemembersastheywalkintothetheaterandmust

besignedbeforetheshowbegins.Morrisonreiteratesthepoliticalintentionbehind

thisdevice:“IlovedmakingtheaudiencesignthecontractjustbecauseIwanted

themtofeelmycontrolasauthoroftheirexperience.Ifeelsocontrolledby

filmmakersandplaywrightsanddirectorswhomakemeseethingsfromaman’s

perspectivemostofthetime.“(Morrison)

Infact,Morrisonmakesgreatuseofherexperienceviewingworkthat

controlstheaudience’sperspectivesorigidly.Féminaal’sinfluencesareJean-Lu

Godard’sMasculinFemininandBertoltBrecht’sBaal.Morrisondescribesher

relationshipwithFrenchNewWavefilmsinhighschoolasanuneasyfascination.

Watchingthefilmsandrealizingthat“womenwere,essentially,propsinthefilms”

wasasignificantexperiencethatwasrepeatedwhenshereadBaal.(Morrisson)

MorrisondescribesasimilarphenomenonwhensheencounteredBaal:

Itwassoconfusingtometofindthishorribleguywhowasdescribedas

physicallyunattractiveandobviouslymorallybankrupt,havingsexwith

teenagetwinsandmarriedwomenandthenhavingsexwithmenandthen

murderinghisrivalforoneman’saffectionsandhisonlypunishmentwas

thathewasprobablygoingtolosehisjob.Ididn’tunderstandwhyIwas

fascinatedwithhimandIdidn’tunderstandwhyIdidn’teverseewoman

characterslikethis.(Morrison)

29

Thisstrangedivisionwithwhocanbeacaptivatinganti-heroistiedtothecentering

ofthemaleexperience.A“bad”characteroranti-herofromamarginalizedgroup

runsoftheriskofreinforcingtheirownmarginality.Inaddition,therearesofew

anti-heroinesbecausetherearesofewheroines.

Animportantgoaloftheplaywas,fromitsorigin,towritefemalecharacters

whodespite“misbehaving,”arenotpunished.Frequentlyseenpunishmentfor

femalecharactersinplaysisrape,suicide,someformofverbaloremotionalabuse,

oroftenjustdisappearancefromtheplay.MorrisonpickeduponhowBaal’s

behaviorandthesubsequenttreatmentofthatbehaviorhighlightadifferenceinthe

way“bad”behaviorisperceivedinmenandwomen.ThecharactersofFéminaal

modelthesecaptivatingtraitsthatBaalinhabits.Morrisonexplains:

Iwantedthecharacters,especiallyofMadeleineandKlara,tonotbe

particularlynoble,long-sufferingormorallyupright.Theyarenarcissistic,

somewhattalentedyoungwomenwhoneedalotofattentionandhappento

entereachother’slives.Themenintheplayaretherejusttooccasionally

supporttheirjourney,buttheyhavenocharacterarcsoftheirown,even

youngPaulwhoisinfluencedbyKlara,butisnotcentralintheplay.

NotonlyisitsignificantthatMadelineandKlarahavepersonalitiesandbehaviors

thataretypicallynotpraisedinwomen,itisalsoessentialtorecognizethattheydo

notchangetheseattributesattheendoftheplay.

Thissurpriseoflackofchangeinbehaviorishighlightedbythestructureof

theplay.Morrisoncraftsthefinalperceptionshiftoftheplaybycapitalizingonour

expectationsthatattypicallyattheendofdramas,somethingchanges.Ourinnate

30

(orlearned)sensethattheremustbeareversal,promptsustolookforthemoment

whentheactionsoftheplaywillforceMadeleineandKlaratochange.Traditional

structuremightleadustoexpectoneoftwoscenarios:1)Theplaycouldendwith

MadeleinegoingthroughapersonalexaminationofsortsandrealizingthatKlara

treatsherhorriblyandshedecidesshedoesnotneedherinherlife.2)Theplay

endswithKlaraundergoingchangeandrealizingthatMadeleineisworthaltering

herpromiscuouswaysfor,andthecouplewillfinallybetogetherinameaningful

way.

Furthertantalizingtheaudiencetoexpectchangeisthemusicalnumber.

EverymemberofthecastisonstagedancingandsingingtoKlaraforherto“not

talk”and“lookcloser”atMadeleineand“feelharder”forher.Thissong,this

moment,issupposedtobreakthepattern.Thisiswheretheactionmightprogress

inanunexpected(butactuallycompletelyexpected)way.Theplaywinksatthe

traditionalBroadwaymusical(oftensouninterestedinchallengingthestatusquo)

thatendswithasonganddanceandbigobviousreversal.Whentheplaydoesnot

progressinthisway,whenKlaraunceremoniouslywalksoffthestageand

Madeleinerunsafterher,theaudienceexperiencesFéminaal’s“inretrospect,

inevitable”moment.Inlookingbackovertheplay,werealizeweweregivenno

reasontothinkthatthisendingwouldbreakthepatternandbedifferentthanthe

restoftheplay.Thesurpriseisthatthereisnochangeatall.Thesewomenhavenot

beenforcedtochangetheirbehavior.Whatcausedthehopeforchangeisthe

culturalbackgroundofconsequencesforactions.

Wecarriedthatexpectationwithuswhenweenteredthetheater.Weheld

31

ontoitevenwhenweweretoldthatthisviewingexperiencewouldbedifferentthan

others(theContractformallydemandedthatwearenottoviewthisplaytheway

wenormallywould).Havingbeenundertheinfluenceofpreviousmodesof

thinking(perhapsthemalegaze,perhapstraditionalformsofstructure),the

audienceisactuallygivenatypeoftraditionalreversal.Féminaalengagesandplays

withitsrelationshiptotraditionaltheater:mocking,castigating,andsubvertingit.

Morrison’sdecisiontosetFéminaalinafictionaldepictionofParisinthe

1960sisanactofre-envisioninghistory.LikeSuzan-LoriParkshasdoneinmanyof

herplays,Morrison’sworkisapieceoffictionthatisinconversationwiththe

dominanthistoricalnarrative.Shedescribes:

Manyplaysandfilmsrewritehistorytosupporttheheronarrativewhen,

eveniftheeventsarebasedonreality,theyareagrossoversimplificationto

makethecentralwhitemantheheroofeverything.Iwantedtodothesame

forthecentralfemalecharacters,puttheminaworldthatismadeforthem

tomovethroughwithgreateaseandwheretheyareobviouslytheheroesat

thecenter.Menaretherulersofthepastandfutureineveryiteration,no

matterhowimplausible,butwomenareheldtoabizarrelystrictstandardof

historicalaccuracy.Iwanttoloosenthatstandardandre-envisionhistory

thewayIwouldlikeittobe,sothatwomencanfinallyseethemselves

differently,astheheroesandcentersoftheworld.(Morrison)

BettyandJanecontributetothisgoalbydiscussingbyrepresentingthe

modernIowaCityfemalestudent(ademographicthatmadeupmostofthe

audienceinthefirstproduction).Theirdiscussionabouttheverycontentoftheplay

32

theyareinisanot-subtleBrechtiandevicethatallowstheaudiencetoseethe

distancebetweenthemselvesandtheperformance.Theirdiscussionofthe

misogynyinFrenchNewWaveCinema,wheretheysaylineslike““Ifeltsohetero-

masculinizedlookingatthesewomen,”remindstheaudienceoftheirresponsibility

toviewthiscontentinacertainway.Thewomenareawaytopokefunatthevery

actthattheaudienceisengaginginordertoelicitinsight.Thefollowingdialogue

pointsdirectlytotheexperiencethatisunfoldinginfrontoftheaudience:

BETTYSelliergoesfurtherandsaysnotonlyareweforcedintoaheteromasculinizedgaze,butitisthefimmaker’sowngaze,hispersonallensviewingwomenandtheworld.JANEShe’sright.Itfeelslikethat.BETTYByviewingitwearesigningthecontract,wearecomplicit.(Morrison30)

Theirdialogueisaninsightfulremarkaboutartandlifeoutsideofthisplay:weare

constantlysigningcontractsthatforceusto“be”heterosexualmen.Weare

unknowinglytakingonthegazeofandviewingrealityassomeoneelse.

ThoughBettyandJane’sactionsdonotmimicthoseofMadeleineandKlara’s,they

highlightinneoncolors,questionsthattheplayisasking.

BETTYThemalegazeissoobviousinthis.Ifeltsohetero-masculinizedlookingatthesewomen.

ItisalsosignificantthatBettyandJanejointhemusicalnumberattheendof

theplay.Notonlyhastheplaygivenuscharacterswhoare“us,”ithasthemliterally

33

participateinthestoryonstage.Theplayadvocatesnewformsbyperforminga

physicalizationoftheaction:weneedtoleaveourcurrentstate(likeJaneandBetty

leavetheirseatsintheaudience)andmoveintoanewspace.Thispromotionofnew

structureiscrystallizedinScene22whenKlaraforcesPaultowatchherandthe

FarmGirlskiss:

PAULOkay.Okay.Whydoyouwantmetoseethis?KLARABecauseI’mtiredofwar,andwithoutseeingsomethingelsewecan’tchange.PAULDoyouwantmetobeuncomfortable?KLARAYes,weallhavetogetuncomfortablenow.It’sourcivicduty.

(Morrison51)

Theplayarguesthatifwearenotshownnewwaystothinkoract,thenwecannot

change.Wecannotmoveforward,wecannotprogress,withthesamegaze.The

play’sstructureembodiesthismessage.Themovementforwardthatwewere

expectingandhopingfordoesnothappenbecausewewerenevershownactions

thatdifferedfromthissmallpoolofbehavior.WhatissosatisfyingaboutFéminaal,

though,isthatitsexistenceisanewmodelfortheater.

Conceivedoutofafrustrationtoseedifferenttypesoftheater,Féminaal

succeedsinprovokingtheaudiencetothinkaboutwhatweconsumevisually.If

advertisingworks,andweknowitdoes,thensodoesart.Whatweseematters.

Whenweseeimagesofthesametypeofwomanandthesametypeofman,overand

34

overagain,we’redestinedtoperpetuatethoseexamples.Féminaalisaforcethatis

determinedtobreakthispattern.

35

Conclusion

Blasted,FatherComesHomefromtheWars,andFéminaalarerevolutionary

plays.Theirinventivenessasksustoseewomen,theirangerandtheiroppressionin

newforms.ThoughCate’sanguishisnottakenseriouslybyIan,Penny’sworthisnot

consideredvaluable,andBettyandJaneareoccupiedwithhowmenseeandmold

them,thestructureofthesestoriesilluminatestheabsurdityoftheirsituationsand

thecrimeofthewiderculture’sapathy.Throughunusualandgeniusdramaturgies,

theycraftexperiencesforanaudiencewherebyfemaleangerisrevolutionized.They

accomplishwhatOscarBrownsteinarticulatesinStrategiesofDrama:The

ExperienceofForm:

Ifatruerevolutionisanoverturningoflimitedframesofreference

andthereforethelimitedoptionsavailabletous,then[wenowsee]

thatthereisawaythatcomedy,drama,artcanberevolutionary.

Perhapsthereisnothingmorerevolutionarythanthatwhichoccurs

inthemindwhenframesofreferencecreakandgroanandthen

actuallyshift.(Brownstein23)

Discussionofhowtoharnessandencasesomethingascomplicatedandawesomeas

angerisrelevantnotonlytomyinterestsasafeministtheaterartist,butasa

believerinworksofartastouchstones.Theseplaywrights,ascreatorsofthese

representationalworlds,createmeaningthroughdevelopinganewreality.Though

thecontentoftheseplaysdiffer,theyareallconcernedwiththeinadequaciesofthe

pastthatcontinueintothepresent.Thelackofintegrityinthewayangeris

36

expressedonlyservestopromoteacrisisofself.Forwomen,thisisanespecially

disturbingtrend.Inhighlightingforusthetypeofcontractswehaveallowed

ourselvesto“sign,”theseplaywrightsmovetowardsmorecomplicatedandvaried

depictionsofwhowomenareandhowtheyexperienceangertorealand

recognizableinjustice.Theirworksareforwardgazing.Theyrejecthistoriesthat

havesilencedandcontortedfemaleangerinsearchoforiginalityandtruth.

37

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