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To cite this Article Gritzner, Karoline(2008)'(Post)Modern Subjectivity and the New Expressionism: Howard Barker, Sarah Kane, and
Forced Entertainment',Contemporary Theatre Review,18:3,328 — 340
To link to this Article: DOI: 10.1080/10486800802123617
URL: http://dx.doi.org/10.1080/10486800802123617
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Contemporary Theatre Review, Vol. 18(3), 2008, 328 – 340
Karoline Gritzner
1970), pp. 247–72 (p. further negatively advanced forms of regressive subjectivity – that is,
271).
forms of subjectivity that have internalized the reifying structures of a
3. The Frankfurt capitalist commodity ideology which ‘impresses the same stamp on
Institute for Social everything’.4 It will be argued that the attention given to the complexity
Research was founded
by Marxist German of the subject in new-expressionist drama, theatre and performance
intellectuals in 1923. demonstrates the continuation of a modernist preoccupation with
After World War II explorations of subjectivity, but now under the conditions of post-
Adorno and Max
Horkheimer rebuilt modernity or late capitalism which, according to Adorno, have
the institute and irrevocably diminished the possibilities of the individual. The new-
Adorno’s work on
sociology, music and expressionist dramatists and practices under consideration here engage
mass culture provided with the crisis of subjectivity (a modernist trope) in a late-capitalist
important
contributions to the
context, using aesthetic approaches which heighten the ‘damaged’
revival of German nature of the subject (Adorno).
intellectual life. Having survived its postmodernist demise, the concept of the self
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David Ian Rabey, of the humanist ideology of much mainstream theatrical activity (‘the
English Drama since
1940 (London: theatre’) which seeks to entertain and enlighten by offering the audience
Longman, 2003), a clear message of some sort. More importantly from my point of view,
p. 128. The
description ‘neo- however, his work throws a bourgeois understanding of the autonomous
expressionist’ finds an subject into crisis without accepting that the subject can be ignored or
earlier application in
Baz Kershaw’s
bypassed as a problematic concept, despite a rejection of humanist
characterization of ideology. His artistic practice, notwithstanding its resistance to
certain alternative rationality and its questioning of the concept of ‘truth’ (which therefore
theatre groups that are
‘committed to the makes Barker a fitting candidate for the theatre of postmodernism in
subjective as the Charles Lamb’s view)15 is deeply informed by an Adornian cultural
determining domain
of theatrical
criticism which is articulated in passages such as this:
conventions’; see Baz
Kershaw, The Politics
of Performance:
Radical Theatre as I would like to propose that the value of works of art, in social
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Cultural Intervention circumstances such as the present, lies not in their entertainment value,
(London: Routledge,
1992), p. 178. nor in their ability to ‘change perceptions’ in pursuit of some common
purpose, but in their power to devastate the received wisdom of the
13. See Chris Megson, collective, which conspires to diminish individual experience at all levels.16
‘England Brings you
Down at Last’, in
Theatre of Catastrophe,
ed. by Karoline Barker’s diagnosis of modern culture as a context in which individual
Gritzner and David
Ian Rabey (London: experience is diminishing echoes a key argument that has defined the
Oberon Books, 2006), discourse of artistic modernism – namely, the critique of the alienation of
pp. 124–35. experience resulting from societal modernization. Adorno also argues,
from the historical point of view of late capitalism, that the possibilities of
14. See Karoline Gritzner,
‘Catastrophic authentic subjective expression are radically undermined by bourgeois
Sexualities in Howard society, but he determinately holds on to the concept of the subject as a
Barker’s Theatre of
Transgression’, in possible agent of social transformation. Barker locates the possibility of
Genealogies of Identity: authentic individual experience in the realm of the tragic, which he
Interdisciplinary considers to be sufficiently enigmatic and powerful enough to act as a
Readings on Sex and
Sexuality, ed. by counterforce against the dominant liberal-humanist ideology of mass
Margaret Sönser culture. Barker’s position in this respect is less dissimilar than it might
Breen and Fiona
Peters (Amsterdam: appear from the Marxist critic Terry Eagleton’s view of tragedy. Tragedy
Rodopi, 2005), pp. matters for Eagleton because it sharply opposes the status quo of
95–106.
bourgeois conformism and restores the possibility of subjective agency
15. See Charles Lamb, The
and liberation. In Eagleton’s view, recognition of tragedy not only offers
Theatre of Howard us an experience and understanding of social contradictions but it might
Barker, rev. edn also lead to social transformation.17
(London: Routledge,
2006), especially the For Barker, tragedy offers a ‘return to individual pain’ by ‘divid[ing]
chapter the audience into its individual components’.18 The tragic, as character-
‘Postmodernism and
the Theatre’, pp. 24–
ized in Death, The One and the Art of Theatre,19 presents an opening to
42. death and explores the myriad operations of desire, making the individual
(character and audience member) aware of their limitations, but also
16. Howard Barker, their possibilities. The tragic individual places herself in opposition to the
Arguments for a
Theatre (Manchester: moral consensus of the collective by means of a passionate effort of will.
Manchester University Dancer, the protagonist of Hated Nightfall (1994), is a good example of
Press, 1997), p. 93.
an individual who is compelled to continually re-define himself through
17. See Terry Eagleton,
dangerous encounters with the other. The play articulates a tragic sub-
Sweet Violence: The jectivity on the level of dramatic action and characterization as a symbol
Idea of the Tragic for resistance, negation and implied (but non-utopian) transcendence.
333
(Oxford: Blackwell, Barker’s theatre of catastrophe, with its poetic re-visionings of a tragic
2003).
drama without reconciliation or redemptive value, constitutes a form of
18. Barker, Arguments, resistance to the transparency and instrumental (means – end) rationality
p. 59. of ‘the world’ (or late capitalism, in Adornian terms). Barker does this by
exploring the disorientating effects of the individual’s collisions with the
19. Howard Barker,
Death, The One and
unsatisfactory prescriptions of the world; effects which become manifest
the Art of Theatre in dramatizations of linguistic, physical and emotional disarray, and often
(London: Routledge, involve displaced historical locales and surrealist theatrical images.
2005).
Hated Nightfall dramatizes the mystery surrounding the murder of
the Russian Imperial family by communist revolutionaries. The Party has
officially endowed Dancer, the children’s tutor, with revolutionary power
and the duty to kill the Romanoffs but his persistent refusal to submit to
any ideology (be it monarchic or communist) compels him to a
precarious (but wilfully accepted) existence on the edge of political
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and political) directionality but it certainly does not lack emotional and
libidinal intensity. Self-transformation is pursued with a passion, which
in many cases leads to (wilful) self-damage and an embrace of the
possibility of death. However, even death does not constitute an
endpoint for the imagination, but merely another stage, another
possibility for subjective transformation. As Istvan in Dead Hands
(2004) exclaims when confronting the dead body of his father: ‘I make
his death another pretext for self-laceration self-examination self-
intoxication self self self I am so tired of self I am so sick with I this
24. Barker, Dead Hands I my I’.24
(London: Oberon But there is no escape from the problem of the self in Barker’s theatre,
Books, 2004), p. 19.
only a compulsive return of our attention to its irrational, fragmentary
and irreconcilable nature. Rainer Friedrich suggests that modernism is a
more complex phenomenon than postmodernism, ‘sustaining as it does
the unresolved tension that results from the opposing strivings in
modern subjectivity for self-assertion and self-cancellation; while post-
25. Rainer Friedrich, ‘The modernism simply dissolves the tension by opting for one of its poles’25 –
Deconstructed Self in namely, that of self-cancellation. The theatrical expression of subjectivity
Artaud and Brecht:
Negation of Subject as unresolved tension and restlessness places Barker’s work within the
and tradition of European modernist (in particular, expressionist) theatre,
Antitotalitarianism’,
Forum for Modern and continues to offer radical aesthetic critiques of (post)modern culture
Language Studies 26 which, as Adorno warned us, is ‘a phase when the subject is capitulating
(1990), 282–97
(p. 283).
before the alienated predominance of things’.26
Sierz, In-Yer-Face than Barker’s treatment, because she explores the possibilities and limits
Theatre: British
Drama Today (Faber of self-construction in a way that reveals the extent to which subjectivity
and Faber, 2001); Dan has become instrumentalized and therefore almost extinguished within
Rebellato, ‘Sarah
Kane: An late-capitalist consumer society. Whereas for Barker the self, while
Appreciation’, New compromised, is still capable of constituting a locus of theatrical meaning
Theatre Quarterly
XX.3 (1999), 280–81.
and dramatic action, for Kane even the minimal self that Barker appears
There is a consensus to accept is potentially put into question.
that Kane’s theatre is Kane’s interest in experimentation with dramatic form is already re-
provocative, visceral
and emotionally flected in her first play Blasted (1995), which begins in a naturalist fash-
honest, and that its ion that is later rejected. Ian (a middle-aged journalist) physically and
distinguishing
experiential aesthetic
mentally abuses his ex-girlfriend Cate (a young girl, prone to epileptic
disturbs habitual fits) in a posh hotel room in Leeds. The entrance of a soldier and
audience expectations the explosion of a mortar bomb radically change this realist setting of
and responses.
the Leeds hotel room into a war-torn, absurdist space in which the
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‘The Tooth, The narrative development and character description in Kane’s work suggests
Palm’, in Mimesis,
Masochism, and Mime, a commitment to experimentation with theatrical constructions that
ed. by Timothy reveal the intersections between subject and form. The subjective voice
Murray (Ann Arbor:
University of speaking in Kane’s work cannot be reduced to the author’s, nor can it be
Michigan Press, projected entirely onto the spectators’ responses. The subjective
1997), pp. 282–88
(p. 287).
dimension of her texts merges within the theatrical aesthetic in which
it seeks and finds an objective expression, thus most clearly representing
Adorno’s conception of art which locates the subjective domain (the
subjective ‘spirit’) of a work of art, and thus its potential for critique, at
the level of aesthetic form (rather than social content).
Such experimentation with dramatic form, which entails a distinctive
de-centring of the self, is carried out most radically in Crave (1998) and
4.48 Psychosis (2000), where language assumes a quasi-autonomous
function in relation to character, action and narrative. Kane’s later work
moves beyond drama in the sense that it eschews a direct relationship
between character and the created illusion of a stage fiction. Here we
have plays for voices rather than characters, language ‘scapes’ or layers
that do not immediately signify recognizable realities. However, it would
be misleading to assume that for this reason subjectivity is erased within
the theatrical space that is transfigured by language; rather, one is
confronted with the challenging proposition that the self is no longer a
direct agent of, or vessel for, meaning, but is constituted as an effect of
language, space and movement. Although this might appear a confirma-
tion and perhaps celebration of a de-historicized generic postmodernist
treatment of the self, in fact it testifies to the acuteness of the crisis of the
33. Adorno applies the subject in the latest turn of reification in global late capitalism.33 In 4.48
Marxist theory of Psychosis the breakdown of linguistic control goes hand in hand with a
reification to his
analysis of the collapse of the speaker’s reality. Meaning multiplies and fragments,
commercial mediation intention remains ambiguous, not sufficiently articulated, deliberately
and
instrumentalization of bewildering but painfully emphatic. Kane’s project embodies a Beck-
consciousness in the ettian challenge to dramatic meaning yet nevertheless works in the
‘culture industry’.
Reification denotes
tradition of expressionist theatre which physicalizes the emergence of
the commodity subjective desire as a critical urge (irrational, compulsive, self-destructive)
character of art and that blasts the forms of linguistic and physical movement in time and
the alienation of
human relations. See space. The self is nevertheless articulated, indeed insists on its damaged
‘The Culture articulation, as a riddle, a wound, a distorted form which invites
337
Entertainement, ed. seems that performative examinations of subjectivity lie at the heart of
by Judith Helmer and
Florian Malzacher such endeavours. The overriding concern is with presence, the ‘here and
(Berlin: Alexander now’ of the performance event,37 which is a unique, never-to-be-
Verlag, 2004), p. 72.
repeated experience in a spatial and temporal dimension shared by
37. Performance is here performers and spectators. There is a sense that the particular immediacy
defined in the and frequent contradictory nature of spectator response encouraged by
Derridean sense of an Forced Entertainment reflects an impulse towards a self-reflexive
event as ‘an
irreplaceable and emancipation from a dependence on conventional strategies of narration
irreversible empirical and reception. Adorno ascribes a specific radicalism to the principle of
particular’. A Derrida
Reader: Between the individuation in the work of art, according to which the subject performs
Blinds, ed. by Peggy its traces of autonomy vis-à-vis the claims of the general. The company’s
Kamuf (New York:
Columbia University
acknowledged adoption of an aesthetic of failure38 furthermore supports
Press, 1991), p. 10. such a ‘perseverance of lingering with the particular’,39 a process in which
the spectator experiences his/her self in transition and transformation.
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38. See Tim Etchells in The very title of The World in Pictures invokes the gesture of global
‘Not Even A Game
Anymore’, p. 88. capitalism’s desire to subsume individual experience under a framework
of totality. However, this ‘mock-epic theatrical picture-book of the
39. Adorno, Minima history of man’ (programme note) is a playful attempt to tell a meta-
Moralia, p. 77. narrative that is too big to be encapsulated by any theatrical means and
therefore The World in Pictures undermines the ideological prescriptions
of globalization from the outset. The show begins with a story told by a
single performer who invites us to imagine a stroll through a city, which
culminates in a suicide attempt involving a fall from a rooftop which
leaves us – and the story – hanging in the air. Then the performance of
the ‘history of Man’ begins. Using an array of pantomimic action, eclectic
music, colourful costumes, and bizarre props, the performers convey
significant moments of the world’s history in a frenzied tour de force
which blends the comic and grotesque with profound moments of
reflection. At the end of this chaotic spectacle, the temporal distinctions
between past and future collapse when the performer who introduced the
show returns and offers a solemn monologue that confronts the audience
with the fragility of individual memory, with questions about personal
identity, our place in history, and what will remain.
The deconstruction of the history of the world as it is presented in
performance here gives way to the creation of small narratives (Lyotard);
private, personal, tentative stories that we tell about ourselves and to each
other. The World in Pictures ultimately encourages the individual
(internal) performance of reflexive subjectivity; it invokes consciousness
of our personal histories that happen in local contexts and are particular
and unique. The events that we are encouraged to reflect upon in the last
moments of the production by the performer’s questions – ‘How did you
get to the theatre tonight? Who did you meet on your way? Do you
remember the person sitting next to you on the bus?’ – are necessarily
fragmentary, incomplete, impossible to authenticate and difficult to
remember. The intractable gaps and blind spots that are part of the
constructions of individual history and personal memory throw a shadow
of uncertainty and incredulity over the meta-history of Mankind, Reason,
and the unified Subject.
Thus, capitalism’s claim for universality and comprehensibility is
imaginatively challenged (deconstructed) by means of a performance that
339
Conclusion