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REPRESENTING THE REAL
CONTEMPORARY DOCUMENTARIAN ANNA DEAVERE SMITH:
A HISTORICAL CRITIQUE OF CROSS-CONVENTIONAL APPROACHES TO
DOCUMENTARY THEATRE AND FILM
By
Heather Lidberg
Documentary Studies I
Professor Alexandra Anderson
28 January 2008
2
Introduction
Much like many artistic movements during the 20th century film fell suit and began to
investigate new conventions outside of the homogeneous modern sphere. Also flanking the
formal medium of photography and film, theatre pursued new goals situated in implementing
social, economic, and political transformations in what we now delineate as documentary
philosophy. The historical and ideological movements in Germany, Russia, and North America
cultivated new documentary principles and conventions.
Consistently, the field of documentary has re/visited and debated the various approaches
taken on by practitioners when dealing with the investigation, interpretation, and representation
of non-fiction material. If we are to separate documentary from any medium or media we are to
understand the genre and discourse as perhaps formally one that is “…pertaining to, consisting
of, or derived from documents… based on or re-creating an actual event, era, life story, etc., that
purports to be factually accurate.” 1 Interestingly enough popular culture has allowed for a
greater distribution and acknowledgement of documentary film than that of its sibling,
documentary theatre; however the history of documentary theatre can be seen as a reflection of
documentary film traditions and conventions and shares similar ideological debates. “In much
the same way that a documentary film weaves together fragments of cinematic evidence to create
a non-fiction story, the documentary play [theatre] locates its dramatic text in language recorded
from real life.” 2
As an example of how these histories have influenced the global stage of documentarians
we employ the works of Anna Deavere (p~da–veer) Smith, the critical documentary theatre
practitioner. Her among others have stepped into the documentary field as agents for social
change alongside the traditional documentary landscape of film. Smith has not marched into this
3
new field without history; we are witnesses of the residual international political ideology that
has taken place over the last 100 years. This shift has directly situated these new conventions as
relevant and important ways in which we can educate and entertain the world as documentarians.
Ideological Transformations: International Theatre and Film
In 1926 during a review of the film “Moana”, directed by American filmmaker Robert
Flaherty, John Grierson, known as the father of documentary, first coined the term documentary.
Grierson, the British social scientist whose specialty resided within the psychology of
propaganda became the leading man in discursive understandings of what documentary was and
what it might look like. 3 In reflecting upon a large amount of ‘natural material’ that could be
used to describe what documentary could necessitate, Grierson, listed footage that included
newsreels to scientific engagement and much in between. “They all represent different qualities
of observation, different intentions in observation, and, of course, very different powers and
ambitions at the stage of organizing material.” 4 Even though this text is pulled from 1932, the
ideologies within it represent the same propositions that documentarians are understood and
contextualized by today.
Grierson proposed to the world that documentary was the “creative treatment of
actuality”, that was to move beyond the pure description of the natural and throw it smack dab
within an art context, all the while of course grounded in the representation of the real.5
Principles that he set as guidelines for documentary work recommended documentarians
approached the material in situ, which was seen as a commitment to delineating the greatest
understanding of a subject. Furthermore great attention must be paid to the “description and
drama” of the material, recognizing that although material is found within the real, how it is
delivered becomes a conduit of interpretation.6
4
Robert Flaherty’s, “Nanook of the North” (1922) is historically seen as the example for
early documentary film to follow. Flaherty’s film captures the life of an Inuit family of the North
who performed for him their everyday vanishing ways of survival. Flaherty in 1915 had captured
hours of documentary footage on the peoples of the North, however upon returning to Canada to
edit, the material was lost in a house fire. Flaherty returned to the North and realized that a
restaging of the long past traditions was in order which followed a more dramatized film
experience. The actors in the film were long time friends with Flaherty and agreed to be in the
film recognizing the importance of archiving their historical life of the past. Flaherty shot his
scenes in ideal film lighting conditions (not necessarily ideal for the actions of the Inuit) and had
his actors dress in attire from their ancestors to reenact various scenes. This film is still used
today as a historical documentary film that showcases the Artic people and their encounters with
nature.7 It also highlights how documentarians of the past used representation as a tool for
creating truth.
Documentary film beginnings are also sited in Russia, in the 1920’s, under the direction
of editor and poet, Dziga Vertov. Vertov, much like his friend and colleague John Grierson, in
response to the overtly stylized fictional representations of the Russian bourgeois (Grierson also
objurgated the rising popularity of dramatic films) in the cinema, theorized, “…what he called
kino-pravda, a ‘film-truth’ cinema of real life captured by the camera.”8 In 1929 Vertov’s “Man
with the Movie Camera” was produced. His attempt was to capture the everyday life in the
Soviet Union from morning to evening. Shot in a way that highlighted the abilities of the camera
and cameraman. This film is a montage that utilizes new filming techniques such as Dutch angles
and double exposures. It was the intention of Vertov to capture life from all angles which he
believed would create a film “…free of ego, the chaotic profusion of imagery, humor, and
5
tumbling catalogue of events and characters could only be Vertov’s.”9 The result of this film also
showcased the abilities of camera editing and how these techniques can be used to prophetize the
filmmakers intentions, a sort of new truth, that of the auteur.
German film documentarian, Leni Riefenstahl’s, film “Triumph of the Will” (1936) is
seen as a historical propaganda film for Germany’s Nazi regime. Riefenstahl worked alongside
the Third Reich as their main film director and used her talents to create support for the Nazi
moment during this time. The intention of this film was to propose to the world Adolph Hitler as
a ‘God’-like character, which we see when Hitler descends from the heavens above. This film is
considered one of the greatest documentaries of all time not only because of its historical
significance but also for Riefenstahl’s masterful use of music and moving image.10
During this same time German playwright’s Bertolt Brecht and Erwin Piscator delivered
to audiences of Germany the concept of Epic Theatre. As a backlash to the political propaganda
that was circulating Germany and in a post war attempt to disseminate factual information
through art in the form of theatre, both playwrights approached theatre with a documentary eye.
Both integrated political ideology within the stage by using film footage and historical referential
material of the time. 11
For Piscator it was “‘…the first time a production where the political document is the
sole base for text and scenic work’” and his attempt was to contextualize German sentiment
through the customs of documentary. 12 His effort to turn the conventional theatre space of stage
and audience to that of a convention hall was achieved in his 1925 production, Trotz alledem!.
Upon his reflection of this particular work Piscator coined the term “documentary theatre”. 13
Fellow German dramaturge, Bertolt Brecht, contributions to theatre is notable and his
ideologies still resonate in current documentary theatre. Most significantly Brecht in his Marxist
6
ideology created the Epic Theatre, “[o]r, as Brecht put it, by the ‘culinary’ theatre ‘the audience
is entangled in the action on stage,’ a process which is bound to ‘exhaust their power of action.’
The epic theatre, on the other hand, arouses their power of action and ‘extorts decisions from
them.’” 14 If we are to focus on definitive ideologies that are well weighted within the scope of
documentary then we must bare mention of three Brechtian specifics: dialectical materialism,
alterable world, and verfremdungseffekt (or alienation effect). 15
Dialectical materialism for Brecht was to enunciate the contradictions found within the
ever-changing society that we live in. The social conditions that become apparent are moments
within the contextualization of time and condition, all of which are transformative. It is this same
approach that we must begin to understand human emotive, opinions, and attitudes.16
The notion of alterable world to Brecht indicated a world that was willing and ready at a
moment’s time to structurally transition. 17 His vision was to insist upon society’s responsibility
of bring action to voice and ideas. Therefore it would be the accountability of the theatre to
create a motive for this to take place.
Finally Brecht created a site in which audiences were to be made human (again) and
where he could convince or entice them to make a socially conscience decision about what was
being presented on stage; exploiting his philosophy of the alienation effect. 18 Brecht used the
Epic Theatre as a place for the representing the real to audiences which he believed enable them
to relate to the subject as something of recognition but at the same time Brecht, “ ‘…treat[ed]
social situations as processes, and trace[d] out all their inconsistencies’ in terms of justice on trial
or ‘in the process.’” 19 Therefore by highlighting the difference in recognition audiences were
left in a state of the unfamiliar. 20 Brecht saw this as an opportunity to stimulate social, political,
and economic change within the medium of documentary theatre. 21
7
An American writer, Mike Gold who worked alongside Brecht, began creating a worker’s
theatre born out of the living newspapers of Germany and Russia. 22 The U.S. government in
1935 funded a major national project that employed the living newspaper theatre technique. As a
part of the Work Project’s Administration, the Federal Theatre Project was cultivated to incite an
interaction with the workers and the state, post-Great Depression. 23 Elmer Rice headed up this
project up until 1939 when the controversial subject matter forced him to resign and the project
was closed by an act of Congress. 24
The global theatre movement that took place during 1919-1940 was influenced by
Germany and Russia, although many have taken credit for its incarnation. Zerka Moreno, an
American, also utilized the formalities of this type of documentary theatre, however insisted that
it was a “Theatre of Spontaneity” or “Impromptu” or “Dramatized Newspaper” separating any
connections with the Marxist movements abroad. 25 Moreno was interested in conveying the
feelings, connections, and wisdoms of humanity and did not fancy the attempt to disseminate
‘news reel’ type information or official reports like his Russian and German colleagues. 26
In the mid 1950’s after technological advancements in sound, documentary filmmaking
made a transition in the guise of Cinéma Vérité and Direct Cinema. Both of these new genres in
documentary transformed the relationship between subjects and technology. Direct Cinema was
taking place in North America; filmmakers like Fred Wiseman and the Maysles Brothers, whose
attempt to capture non-fiction followed an observational approach. Their intentions were to let
life take place on screen as it happened; however honourable the attempt, one could not help but
change their behaviour when followed by a camera. “Authenticity declines as the camera
becomes more prominent than those being filmed and they become conscious actors in their own
story. Though this situation has a truth of its own, it is no longer life caught unawares.”27
8
French filmmaker, Jean Rouch, on the other hand, proposed filming in a way that
challenged participant involvement. His commitment to Cinéma Vérité (cinema truth)
highlighted the relationship between director and subject and he saw it as a relational opportunity
that allowed for the probing of events by the auteur.28 In alignment with the transition in
documentary film and theatre, John Cassavetes situated a new ideology of truth and
representation that suggested, “…personal identity is not fixed, but something made and
discovered in vital negotiation with others.”29
Thematically there was a wide swath of documentary films being made during this time;
the “Salesman” (1969) was directed by the Maysles Brothers, which looked at the lives of bible
salesmen in Florida. “Titicut Follies” (1967), directed by Fred Wiseman, sought after
highlighting the mal treatment of criminally institutionalized members of society in
Massachusetts. Barbara Kopple’s “Harlan County” (1976) followed the mining strikes in
Kentucky.30 Because of technological advances there was a movement to produce more
‘character’ driven documentaries that sought after exposing the truths of everyday people.
During the mid-1960s, German theatre also emerged as a tool for public investigations
into topics such as: Auschwitz, the U.S. Atomic Energy Commission, and the Catholic Churches
attitudes towards the Holocaust.31 “They sought after exposing the political forces behind
historical events.” 32 Playwrights Peter Weiss, Heinar Kipphardt, and Rolf Hochhuth became the
auteur of such plays. 33 The intention was to investigate the State forces that created these
collective memories and how their ideologies created understandings of events. The movement
was to situate interpretation as the primary model in which we understand our world; by
referencing ourselves as a part of the larger whole we begin to emphasize the supposition that
history creates for society or question the institutionalization of knowledge. 34
9
Although, Marxist discourse was strong in Germany, it was not the case in the U.S.
Experimental theatre, poetic drama, and theatre of the absurd relished in America influenced by
the discourse of Russian playwright Constantin Stanislavsky in the form of method acting
(known as naturalistic acting in America). 35 Stanislavsky’s liberal humanistic approach to acting
is still today taught across the North America. He saw “… human nature as transcultural and
transhistorical, and view[ed] a character’s identity as having an essential core of interior
objectives and the character’s (or actor’s) bodily acts as the outward manifestations of the
character’s interior identity.” 36 Therefore, the human commonality should be used to develop
the actor’s intentions within the character; this connection becoming the valid voice of the
‘other’. 37
Following the 1980s documentary has seen an unprecedented explosion of material and
topics. Themes from the autobiographical explorations of feminists, exposes of the war in Iraq,
Native American boarding school crisis’s, and the postmodernist essays in film format have all
reached out to give many truths to new voices. The greatest debates have occurred over the
authority of documentary film and theatre and where the truth exists for this medium.
Some brief examples of documentary films that were created included Canadian
filmmaker Nettie Wild, directing the film called “A Place Called Chiapas” (1998), which
exposed the Mexican revolution from the peasant resistance. Chris Durlacher’s “George Orwell:
A Life in Pictures” (2003) uses an actor to relay to audiences the life of George Orwell. It creates
a very real dialogue with the inner thoughts of an artist in look and feel that presents to the
audience nothing short of the truth.38
Although these are only a few examples of documentaries during this time the
overarching thematic approaches looked at reinterpreting historical events, personal perspective,
10
and a new globalized voice. The audiences are currently forced to pay greater attention to their
world and have made their ways back into the seats of festivals and theatres hungry for truth and
knowledge. Documentary filmmakers have expanded their research into new worlds and
representing these worlds has become an art form. The technological limitations of the past have
been diminished and cost has become very low for creating documentary work, which has also
contributed to the rise in popularity and diversity.
For “Germany new documentary theatre is based on directors’ projects (as opposed to the
presentation of playwrights in established state or community theatres) and is focused on
unsolved problems of the present (not on the past).” 39 Contemporary works of Hans-Werner
Kroesinger raises the issues of representation, perspective, deconstruction, mediated
understanding, and reality. 40 Kroesinger has situated documentary theatre as the validation of
knowledge (primary and secondary) through art, more specifically through theatre. 41 He
concerns himself with the agencies that produce true documents and how this media affects
meaning in the consumers. 42 Challenged by the overwhelming onset of the new globalized
world, Kroesinger perpetuates “…the meaning and shape are not in the events, but in the systems
which make those past ‘events’ into present historical ‘facts’” 43 He further protests that we must
contest the over simplification of ideologies that have in the past victimized the issues,
perspectives, and people. 44 For Kroesinger it will be the final decision of the audience to render
their own solutions when given the opportunity to make decisions and analyze what is produced
for their consumption.
45
In the United States the post-structuralist movement has taken hold and new ways of
performance, identity, and representation are being sought out, like that of documentary film.
One method that has situated itself with the field of Anthropology is the ethnodrama or
11
enthnotheatre. Researchers of qualitative data are now utilizing the dramatic stage to disseminate
their findings of field. 46 We are moving into a time where the anthropologist or ethnographer is
not just a “… storyteller, he or she is a story-reteller.” 47 We see this new convention adjoining
the movement of documentary theatre.
At present time documentary theatre is defined as:
Those who … specific events, systems of belief, and political affiliations precisely through the creation of
their own versions of events, beliefs, and politics by exploiting technology that enables replication; video,
film, tape recorders, radio, copy machines, and computers are the sometimes visible, sometimes invisible,
technological means of documentary theatre. While documentary theatre remains in the realm of handcraftpeople assemble to create it, meet to write it; gather to see it-it is a form of theatre in which technology is a
primary factor in the transmission of knowledge. 48
Within the context of documentary theatre we become witnesses to testimonies given on stage
through the conduit of lived experiences or (re)presentation of those experiences. The actors are
now testifiers rather than witnesses themselves. The onus of modern authoritative truth is not
necessarily what is called into question; rather the onus of representation of this truth is raised. 49
Theatre documentarian, Anna Deavere Smith summarizes our crisis in all documentary
mediums, “Who do our actors speak for? Who can they speak for? They should speak for
whom?” 50
Anna Deavere Smith
Smith was born and raised in Baltimore, Maryland. She attended Beaver College, in
Philadelphia. Transitioning during the 1970s from the West coast and back she eventually settled
in New York performing in off-Broadway productions and teaching at Yale, NYU, and Carnegie
Mellon. 51
Her Work
Yes, my entry into theatre is political. Largely because of my race and gender. I am political without
opening my mouth. My presence is political. The way I negotiate my presence becomes political. If I tried
to deny my politicalness, I would be even more political. Personally I believe that all art is political. 52
12
Smith draws upon documentarian traditions and an oral history approach developed by
Studs Terkel, an American playwright and historian. 53 She has been working on a longitudinal
project entitled “On the Road: A Search for American Character”. A series that has gained
popularity through two major productions “Fires in the Mirror: Crown Heights, Brooklyn, and
Other Identities” (1993) and “Twilight: Los Angeles, 1992” (1994). 54
“Fires in the Mirror: Crown Heights, Brooklyn, and Other Identities” (1993) was created
out of interviews that she conducted pertaining to 3 days of rioting that ensued in Brooklyn, New
York in the racially divided residential area of Crown Heights. In August of 1991, two young
black children while playing outside were hit by Jewish driver in the Crown Heights area. An
ambulance drove by the severely wounded children while taking the offender to hospital. 55
It would be this incident that spurred on a violent riot between the Orthodox Hasidic sect and the
Crown Height’s black majority, and would be the back drop to Smith’s documentary theatre
production in 1993.
56
“Twilight: Los Angeles, 1992” (1994) was also produced from interviews conducted by
Smith with residents of Los Angeles following the riots of 1992. Several white officers from the
Los Angeles Police Department following a car chase beat Rodney King. The whole incident
was video tapped by local George Holliday. Even with the witnesses video the officers were not
found guilty of brutality. Following the deliberation massive riots began on April 29th, 1992 in
the streets of Los Angeles, killing 53 people. 57
Smith in her interviewing technique encourages each person to find their own rhythm
and passion, “[t]he very moment that language fails them. In the very moment that they have to
be more creative than they would have imagined in order to communicate. It’s the very moment
that they have to dig deeper that the surface to find words.” 58
13
In hopes of finding the truth that exists within the everyday citizen when trying to
understand a larger tragedy, Smith situates the utmost importance on word, which is central to all
of her work. She uses her “word plays” to break down the lines that are created by institutions
and politics, in attempt to subjugate the oversimplification that often occurs during times of
struggle. 59 Smith’s work is not about drawing attention to our consistencies, rather emphasizing
our differences, internal and external, what she deems as “fault lines”. 60 Smith after conducting
numerous interviews in both productions, edits down (much like in documentary film) to those
people she deems are important subjects for the development of each documentary play.
61
It is
at this point that Smith spends countless days turning the interviews into monologues and
rehearsing by imitation, slowly, Smith achieves the subject’s inner voices, mannerisms, and
gestures. Finally the audience is given the opportunity to witness the testimonies of these people
and we begin to situate our own inner darkness as the dividing line of ‘us’ and ‘them’ disappears
and we are left with only human. 62
Trans-media Documentarian Issues
Gender, Identity, and Race
Naturalistic models of acting incorporate Aristotelian notions of character development
based within the tradition understand a person as the sum total of the individual’s actions. The
liberal humanistic approach to the character-actor relationship renders the identity of the
character second fiddle to that of the performer. This power dynamic negates the identity of the
character to nothing less than the culmination of the characters actions. 63 Furthermore critiques
of this method highlight that the self-oriented approach to acting creates nothing more than the
blatancy, proverbial sense, and believability of a character. The character becomes suffocated by
the limited range of possible identities that it can exist as. 64
14
Although the Naturalist model is still the leading role in American theatrical ideology,
anti-Naturalistic traditions have been explored, alongside the European movement. For the poststructuralist Smith, the shift was propelled by her distaste with acting based in “psychological
realism”. 65 Much of this transition for Smith was situated in her allied approach to Judith
Butler’s work on identity theory. Butler theorizes that identities are “…are radically theatrical
and performative, constituted by repeated poses, postures, acts, and gestures … phenomenon of
daily life or ‘exteriority’ becomes ‘interior’ identity.” 66
Similar to Brecht, Butler sees gender as something that exists as an act of repetition.
Gender exist as something beyond transcultural or transhistorical, it becomes agitated aggregate.
Anna Deavere Smith uses this performative nature of gender to perform within the sphere of
another’s “…verbs, actions, self-actions”. 67 She uses the constant negotiation of self through
words and our interaction with those words. 68
Performance and Memory
Some critics have situated Smith’s performances as that of an Asian, African, or Native
American ritualist, she steps outside of the conventions directed by the Euro-American models of
acting. Intellectually Smith never leaves the stage or the character that she embodies. The
embodiment that Smith utilizes is that of deep mimesis, “…a process opposite to that of
‘pretend.’ To incorporate means to be possessed by, to open oneself up thoroughly and deeply to
another being.” 69 The gap between self and other becomes a space in which the audience is
allowed to explore. Furthermore this gap is highlighted by the non-linear structure of the plays
that she creates. 70
Smith monologues her subjects in an attempt to take a slice of life from their stories. This
allows Smith to intuitively show the audience both the persona and social insight of those that
15
she plays; the truth through societal members. 71 Smith knowingly forces the audience to
approach each character with open eyes and ears. She dances the viewers into people’s lives that
would normally never be approached, due to racial, political, economic, or class differences. 72
In the process we become more accountable to each other’s griefs and grievances and thus enter into a
difficult negotiation of ethical, social, and political demands. Reconciling the competing claims of different
stories, however, becomes especially problematic when each side invokes the rhetoric of holocaust to frame
its tale, not least because the effort to “work through” trauma toward personal or social reconciliation runs
headlong into the imperative to remain true to the lost. 73
The other-orientated approach that Smith brings to the stage could be seen as a Brechtian poststructuralist model. She never goes, as far as to wholly transform into the character, rather it is
her that is at the foundation of each performances character. If this was the case the audience to
would be at the bottom of each character, rather the intention is for the character to be at the base
of the character. 74
Conclusion
Smith has approach documentary theatre with an open mind and heart. She is a profit for
what we consider the ‘other’ and for what we consider ‘self’. ‘Us’ and ‘them’ are no longer
relevant ideologies in terms of post-modernity. Her ideologies implemented through the medium
of documentary theatre are exactly a call to action, like other documentarians in the field of film.
She asks those that have become institutionalized through society various mediums to step
outside. The activism is seeking to transcend institutionalized pupils of traditional arts who are
mirrors of the mainstream ideology. For Smith, collaboration with a larger community is
required to silence or speak above that of the noise of the State. It is not just enough to ‘play’
anymore; that there is a greater responsibility for all artists to strive for; that is to represent the
truth. 75
16
The 20th century theatrical movements across Germany, Russia, and North America have
influenced contemporary documentary theatre, which properly parallels historical transitions
situated in documentary film. It is in these conventions of the past that we are able to evaluate
the works of Anna Deavere Smith: actor, director, auteur, and professor. The holistic approach
employed by Smith becomes an interesting reflection of past and present and pushes the
boundaries that locate gender, race, identity, performance, and memory within the subject of
both theatre and film documentary mediums. Beyond the brilliance that Smith brings to the
stage, we are forced to reflect upon our roles as documentarians more importantly as artists of
representation. We are asked to explore what it is to represent a subject and while approaching
the representation of the subject, where is the truth.
17
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Martin, Carol. "Bodies of Evidence." The Drama Review 50, no. 3 (Fall, 2006): 8-15.
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Matsuoka, Naomi. "Murakami Haruki and Anna Deavere Smith: Truth by Interview."
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Smith, Anna Deavere. "Not so Special Vehicles." Performing Arts Journal 50, (May September, 1995): 77-89.
Stanely, Sandra Kumamoto. "Teaching the Politics of Identity in a Post-Identity Age: Anna
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19
Notes
1
Dictionary.com, "Dictionary.Com Unabridged (v 1.1)," Random House, Inc.,
http://dictionary.reference.com/browse/documentary (accessed January 15, 2008).
2
"Porte Parole Documentary Theatre," http://www.porteparole.org/doctheatre/index.php?lang=en (accessed 12/07, 2007).
3
Michael Rabiger, Directing the Documentary, 4th ed. (Burlingon, MA: Focal Press, 2004), 20.
4
John Grierson, "First Principles of Documentary," Camera Quarterly (Winter, 1932), 35.
5
Stella Bruzzi, New Documentary, 2nd ed. (New York, NY: Routledge, 2006), 8.
6
Grierson, First Principles of Documentary, 38
7
Rabiger, Directing the Documentary, 20-21
8
ibid., 19
9
ibid., 22
10
ibid., 26
11
Thomas Irmer, "A Search for New Realities Documentary Theatre in Germany," The Drama
Review 50, no. 3 (Fall, 2006), 17.
12
ibid., 18
13
ibid., 18ibid., 20
14
Heinz Politzer, "How Epic is Bertolt Brecht's Epic Theater?" Modern Language Quarterly 23,
no. 2 (June, 1962), 101.
15
Politzer, How Epic is Bertolt Brecht's Epic Theater?, 104ibid., 99ibid., 100ibid., 113ibid.,
101Thompson, "is Race a Trope?": Anna Deavere Smith and the Question of Racial
Performativity, 130
16
Politzer, How Epic is Bertolt Brecht's Epic Theater?, 104
17
ibid., 100
18
ibid., 113Thompson, "is Race a Trope?": Anna Deavere Smith and the Question of Racial
Performativity, 130
19
ibid., 130
20
ibid., 130
21
Politzer, How Epic is Bertolt Brecht's Epic Theater?, 113
22
Note that German Erwin Piscator, Russian Joseph Losey, and American Elmer Rice (among
others), have taken credit for creating the “living newspaper” theatre. The basic ideology was to
take news stories or dailies and present them to the audience impromptu daily. It was a
spontaneous way making society pay attention to the events of the world. John W. Casson,
"Living Newspaper: Theatre and Therapy," The Drama Review 44, no. 2 (Summer, 2000), 112.
23
ibid., 112
24
ibid., 112
25
ibid., 111
26
ibid., 121
27
ibid., 29
28
ibid., 28
29
ibid., 31
30
ibid., 33-35
31
Thomas Irmer, "A Search for New Realities Documentary Theatre in Germany," The Drama
Review 50, no. 3 (Fall, 2006), 16.
32
ibid., 16
20
33
ibid., 17
ibid., 17
35
Debby Thompson, ""is Race a Trope?": Anna Deavere Smith and the Question of Racial
Performativity," African America Review 37, no. 1 (Spring, 2003), 128.
36
ibid., 128
37
ibid., 128
38
ibid., 37-39
39
Irmer, A Search for New Realities Documentary Theatre in Germany, 19
40
ibid., 21
41
ibid., 20
42
ibid., 21ibid., 22
43
ibid., 21
44
ibid., 23
45
ibid., 24
46
Johnny Saldana, "Dramatizing Data: A Primer," Qualitative Inquiry 9, no. 2 (2003), 218.
47
ibid., 223
48
Carol Martin, "Bodies of Evidence," The Drama Review 50, no. 3 (Fall, 2006), 9.
49
Irmer, A Search for New Realities Documentary Theatre in Germany, 18
50
Anna Deavere Smith, "Not so Special Vehicles," Performing Arts Journal 50 (May September, 1995), 82.
51
"Brilliant Careers: Voice of America," Salon.com,
http://archive.salon.com/bc/1998/cov_0bc2.html (accessed 12/12, 2007).
52
Smith, Not so Special Vehicles, 80
53
Naomi Matsuoka, "Murakami Haruki and Anna Deavere Smith: Truth by Interview,"
Comparative Literature Studies 39, no. 4 (2002), 305.
54
ibid., 305Barbara Lewis, "The Circle of Confusion: A Conversation with Anna Deavere
Smith," Kenyon Review 15, no. 4 (Fall, 1993), 54.Thompson, "is Race a Trope?": Anna Deavere
Smith and the Question of Racial Performativity, 127Gregory Jay, "Other People's Holocausts:
Trauma, Empathy, and Justice in Anna Deavere Smith's Fires in the Mirror," Comparative
Literature Studies 48, no. 1 (Spring, 2007), 119.
55
Lewis, The Circle of Confusion: A Conversation with Anna Deavere Smith, 54
56
ibid., 54Matsuoka, Murakami Haruki and Anna Deavere Smith: Truth by Interview, 305Jay,
Other People's Holocausts: Trauma, Empathy, and Justice in Anna Deavere Smith's Fires in the
Mirror, 119
57
Madison Gray, "The L.A. Riots: 15 Years After Rodney King," Time in partnership with
CNN,
http://www.time.com/time/specials/2007/la_riot/article/0,28804,1614117_1614084,00.html
(accessed 12/12, 2007).
58
Saldana, Dramatizing Data: A Primer, 223
59
Matsuoka, Murakami Haruki and Anna Deavere Smith: Truth by Interview, 309Richard
Schechner, "Anna Deavere Smith Acting as Incorporation," The Drama Review 37, no. 4
(Winter, 1993), 64.Matsuoka, Murakami Haruki and Anna Deavere Smith: Truth by Interview,
313
60
Thompson, "is Race a Trope?": Anna Deavere Smith and the Question of Racial
Performativity, 133
34
21
61
Matsuoka, Murakami Haruki and Anna Deavere Smith: Truth by Interview, 305
ibid., 305Jay, Other People's Holocausts: Trauma, Empathy, and Justice in Anna Deavere
Smith's Fires in the Mirror, 119
63
ibid., 128ibid., 132
64
ibid., 129
65
ibid., 128
66
ibid., 132
67
ibid., 133
68
ibid., 133
69
Schechner, Anna Deavere Smith Acting as Incorporation, 63
70
Thompson, "is Race a Trope?": Anna Deavere Smith and the Question of Racial
Performativity, 130
71
Saldana, Dramatizing Data: A Primer, 224
72
Schechner, Anna Deavere Smith Acting as Incorporation, 64
73
Jay, Other People's Holocausts: Trauma, Empathy, and Justice in Anna Deavere Smith's
Fires in the Mirror, 121
74
Thompson, "is Race a Trope?": Anna Deavere Smith and the Question of Racial
Performativity, 130
75
ibid., 79ibid., 81
62