Pupil Barrister

Tag: Theatre (Page 4 of 9)

Reviews, comments and thoughts on theatre

War and Incitement

I was talking about free expression at an event the other day, when the subject of incitement to violence cropped up.  I mentioned the formulation that Aryeh Neier (President of the Open Society Institute) gave at GFFEx last year, regarding whether the person doing the violence agreed with the person whose speech provoked it.

Blasphemy or religious defamation are essentially insults against a person or group of persons on the basis of one’s religious, or it could be another form of group defamation, where one is attacking or insulting members of a particular race or a particular nationality.  But it doesn’t have the effect of inspiring the supports of the speaker to engage in violence; rather it is the opponents of the speaker who might engage in violence.  So hate speech incites; blasphemy and religious defamation provoke.
That seems to me very important.  I think there limited circumstances in which it may be appropriate to punish those who engage in hate speech.  I think there are virtually no circumstances where it is appropriate to punish those who engage in in blasphemy or religious defamation, that is the circumstances in which they have provoked others to attack them.

An interesting retort to this, was to ask whether King Henry V was engaging in incitement to violence when he gives his famous, rousing speech?

Once more unto the breach, dear friends, once more;
Or close the wall up with our English dead.
In peace there’s nothing so becomes a man
As modest stillness and humility:
But when the blast of war blows in our ears,
Then imitate the action of the tiger;
Stiffen the sinews, summon up the blood,
Disguise fair nature with hard-favour’d rage;
Then lend the eye a terrible aspect;
Let pry through the portage of the head
Like the brass cannon; let the brow o’erwhelm it
As fearfully as doth a galled rock
O’erhang and jutty his confounded base,
Swill’d with the wild and wasteful ocean.

My only response was to suggest that, yes, the French would probably consider Henry’s speech an ‘incitement to violence’ and worthy of censorship, if only they could!  But in practice, such political speech is usually seen as exempt when matters of war and national survival are at stake.  Governments and their populations are usually comfortable with placing extra restrictions on our human rights during times of crisis.

However, there are times when this special exemption might not be as clear cut as we think.  Who, on 14th September 2001, objected to President George W. Bush giving a memorial speech for those killed in the attacks on the World Trade Centre just three days earlier?  Yet it was in that speech that he first used the phrase ‘War on Terror’, a formulation that has become hugely problematic and inciting.  The following week, when America was still reeling from the shock and in need of rousing leadership, the word ‘crusade’ slipped into the President’s remarks, which not only provoked the Islamic world, but certainly had the effect of inciting certain elements of American society to violent, disproportionate action.  The last film I went to see, My Name is Khan, deals with the aftermath of such words.

Infinite Jest and Attempts on Her Life

David Foster Wallace in San Francisco, 2006. Photo by Steve Rhodes

David Foster Wallace in San Francisco, 2006. Photo by Steve Rhodes


I’ve taken the plunge and started reading Infinite Jest by David Foster Wallace, using the Infinite Summer blog as a handy pacemaker and reading aide to what I am beginning to understand is a supremely complex book.

It’s only annoying if you look at the novel as a code to crack, if you see everything as a clue.
Marcus Sakey: ‘Decoding Infinite Jest; or, Don’t’

The first similarity I’ve noticed is between Infinite Jest, and Attempts on Her Life by Martin Crimp, a play I know intimiately after working on it at the National Theatre back in the ’07.  The chapter beginning on page 27 of the book is written in a style highly reminiscent of several of scenes in Crimp’s play.  I noticed it when the phrase “quote-unquote” popped up in the dialogue.  It is utilised in a similar manner in both pieces, to convey a certain official or professional manner, a style of speaking that prentends to be disinterested, but it actually quite hostile.  From there, it was pleasing to see that the chapter follows a similar structure to a couple of scenes from Attempts.  The characters actually present describe another by means of a list that becomes an incantation of sorts, who said x or who did y:

“Who requires only daily evidence that you speak…
“Who used to pray daily for the day his own dear late father would sit, cough, open that bloody issue of the Tuscon Citizen, and not turn that newspaper into the room’s fifth wall. “

Compared with Attempts on Her Life:

Is this the same little Anne who now has witnesses breaking down in tears? …
Who screwed tiny mechanisms and mercury tilt switches to a mercury circuit board, with a mouth of deep pan pizza?

Another major parallel is in the structure.  Like Infinite Jest, Crimp’s Attempts is not a code to be cracked.  The seventeen or so ‘attempts’ are not related to each other, plotwise, although certain refrains and themes return more than once.  It remains to be seen whether this happens with Foster Wallace’s book, but from what I have read (no spoilers, I’ve made sure of that) I am assuming this will be a feature, to some degree.   Marcus Sakey confirms its not a code to be cracked, at least.
And finally, I sense several themes emerging in Infinite Jest that are shared with Attempts:  A satire on commercialism and product placement; pretensiousness in modern art; women attempting suicide;  and above all, an attempt to describe a dissociation brought about by modern society.

Martin Crimp. Photo by Graeme Robertson

Martin Crimp. Photo by Graeme Robertson

Moving Photography?

Jason Kottke thinks that the stills video camera will become obsolete in a few years time:

As resolution rises & prices fall on video cameras and hard drive space, memory, and video editing capabilities increase on PCs, I suspect that in 5-10 years, photography will largely involve pointing video cameras at things and finding the best images in the editing phase. Professional photographers already take hundreds or thousands of shots during the course of a shoot like this, so it’s not such a huge shift for them.

I think he underestimates the convenience that the traditional method provides.  Editing even a few moments of video is a lengthy process, and selecting a precise frame or three from a length of footage will be too time consuming for the average punter.  Granted, professional photographers do fire off dozens of snaps in quick succession, to increase their chances of capturing ‘the moment’.  But the ratio of wheat to chaf in this process must surely never approach that generated by 25 f.p.s. video (or film).  I don’t doubt that at the very high-end, photographers will continue to use this technique, but the act of editing, of post-production, will keep the time premium high, and restrain its use to a limited number of professionals.  Without devoting the time to inspect every single frame, how can you be sure the quality of the image would be any better than normal?  It is certainly not an appropriate technique for photojournalists on a deadline, or the amateur snapper with other things to do.

The clamour for the photo (AP Photo/Jose Luis Magana)

The clamour for the photo (AP Photo/Jose Luis Magana)

Way of the Blogs

Comment is free
Here’s a post I’ve just had published over at Comment is Free.  Later, I will post a selection of the comments I’ve received there.
Credit where its due: The Way of the Blogs is hardly a new idea.  It was much discussed back in the ’04 when people in the UK were starting to take notice of online debate.  More recently, it was discussed at one of English PEN’s round-tables that we held as part of our ongoing inquiry into UK libel laws.


There was some depressing news from Geneva last week, as the UN Human Rights Council voted to adopt a resolution on “defamation of religions”. Although the resolution is non-binding, and does not compel any state to change its laws, it does lend authority to those in countries around the world who wish to clamp down on criticism of religion.
Here in the UK, English PEN’s No Offence campaign in 2005 successfully ensured that religious defamation laws remained off the statute books, and that blasphemy laws are a thing of the past (thank God). Such laws are bad for freedom of expression, of course, but in seeking to shield adherents from criticism of their faith, they ultimately weaken religion, too.
However, when religion comes under attack, the alienation and marginalisation felt by believers is real. How can they achieve redress for a perceived offence, without resorting to censorship, or its kid brother, the boycott?
I think there is a lesson to be learnt from blogs. Despite the robust nature of much of the debate online, I do perceive a sort of online Omerta, a Way of the Blogs. This states that if you have been offended or disrespected online, you can always fight your corner by setting up a counter-blog somewhere else. The idea is that you do not attempt to suppress the offensive material, legally or otherwise, but instead use the same medium to counter and debunk it.
Offline, a recent example from the US, shows this spirit in action. The Jewish organisation Theatre J, based in Washington DC, has been staging readings of Caryl Churchill’s controversial Seven Jewish Children, despite many people branding the play anti-semitic (Comment is Free has already discussed this point at length). Director Ari Roth says he doesn’t endorse the play, but feels the playwright’s language has some resonance: “So many of the lines resonate not with the language of hate, but with the language of perception.”
Roth denies that he is engaging in a form of self-flagellation, because Theatre J’s staging was not done so uncritically. He commissioned two new pieces that engage with Churchill’s text, entitled Seven Palestinian Children and The Eighth Child. Ultimately, what Theatre J has done is to appropriate Churchill’s play. They have mirrored its style in new works, subverting it in order to advance an alternative world view. The quick and impromptu way they have done so seems to me to be very much a 21st century act, reminiscent of the mash-ups, parodies and rebuttals at which internet culture excels. Not so different from The Way of the Blogs after all.
So, staging someone’s play, singing their song, or telling their story, is not necessarily an act of endorsement. Sometimes it can be a broadside attack on a particular orthodoxy. Appropriation and mutilation of art is an act of rebellion, a well-established weapon of the disenfranchised. To give two other examples: I am reminded of Angela Carter’s feminist reworking of traditional fairy tales; and the sampling and looping that is an inherent feature of urban music such as hip-hop. Those who found Gurpreet Kaur Bhatti’s Behzti offensive, or those who were upset by Jyllands-Posten’s provocative Mohammed cartoons, could and should have responded in a similar manner. New digital technology makes this cheap and easy.
But why engage? Why should religious communities have to dignify such attacks from a secular majority that is intent on insulting them at every turn? The answer is simple: art and culture evolves through conflict. Failure to engage leads a culture to stagnation, irrelevance, and finally, death. Religious defamation laws will strangle the very communities they seek to protect. Only raw and offensive free expression can offer salvation.
(Comment at Comment is Free)

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