Three different approaches to political content:
– an old story with a universal analysis of power
– that story made specific to the present world
– uses that extra information as context
What happens to your sympathies? Is sympathy necessary to political effect?
But 6 months from now, which of these remains merely a harrowing version of the news and which one would remain resonant? it seems like very little documentary theatre stays with you for very long, really – apart from the performances, or the theatricality …
[Q: do I get academic credits for the seminar?
A: yes, credits for PS122 community college.]
What is it about the news? I don’t engage in the 3rd version because it’s like television – it just seems like television has flattened out our theatre. Why is that shaping our theatre? It feels like it’s just pushing the material away – even the performance seems removed and shaped and limited by the form?
Where is the text from?
Does that matter?
Also, what about all these scenes of victimized women whose accounts are being questioned by men?
But there’s also the question of sympathy – how crucial is the evoking of sympathy to measuring the effectiveness of political theatre? What is the relationship between sympathy and political content?