九一一與戲劇——
論海爾的《Stuff Happens》與維納韋爾的《九一一》

張家甄

doi:10.6835/TNUA.2012.00088

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九一一與戲劇—— 論海爾的《Stuff Happens》與維納韋爾的《九一一》

9/11 and the Play: On David Hare's Stuff Happens and Michel Vinaver's 11 September 2001

張家甄 , Masters　　Advisor：楊莉莉　　

繁體中文 DOI： 10.6835/TNUA.2012.00088

九一一；九一一戲劇；此地與此時的劇場；維納韋爾；海爾； 9/11 ； the 9/11 play ； theatre of the here and now ； Michel Vinaver ； David Hare

Abstract │ Reference (100) │ Times Cited (2) │ Altmetrics

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The 9/11 attack was a shock to the whole world. By repeatedly watching the TV clips of the two hijacked planes crashing into the Twin Towers, all of us became witness to this unprecedented event. Later, the U.S. government waged a “War on Terror,” sending troops to Afghanistan and Iraq to defend their so-called “liberty and justice.” Responding to such confrontations, the artists and playwrights have released their works on the 9/11 event and its aftermath—from international politics, traumatic memory, terrorism, globalization to the media coverage and interpretations. These theatrical responses to 9/11 have been springing up on the Western Stage, breeding a new genre in the Western Theatre.
     For the playwrights, the inevitable challenge of writing about a factual event is to create certain historical distance for the play to be both an authentic portrayal and critical interpretations. Of the 9/11 plays, David Hare and Michel Vinaver both wove the event itself in political and historical context. Stuff Happens by Hare provides the British viewpoint, while 11 September 2001 by Vinaver offers the French one. Between representation and recreation, they apply different dramatic finesses to examine the event and present their own interpretation. Rather than narrating the past to allude the present, both playwrights adopt the “here and now” as the theatrical theme. However, when the here and now cut across drama, how to fill up the void caused by the media coverage without lacking historical distance? Moreover, what exactly do Hare and Vinaver reveal their critical observations in Stuff Happens and 11 September 2001?
     These two stage plays in terms of formal and thematic concerns, share the same struggles: the questions about the aesthetics of representing 9/11, and about what kind of the position does theatre take when reacting to the current disorder in politics, power, and ethics. This study analyses the two texts, Hare’s Stuff Happens and Vinaver’s 11 September 2001, relies on the public discourse and the documents of 9/11, theatre discourse, and theatre reviews to explore the relationship between 9/11 and the play relates to it as well as to discuss about certain issues on putting 9/11 into play.

Reference ( 100 ) 〈TOP〉

Alkalay-Gut, Karen. 2005. “The Poetry of September 11: The Testimonial Imperative.”Poetics Today, Vol. 26, No. 2, Summer, pp. 257-79.
連結：
-----. 2003. The Spirit of Terrorism and Other Essays. Trans. Chris Turner. New York: Verso.
連結：
Borradori, Giovanna, ed.2003. Philosophy in a Time of Terror: Dialogues with Jurgen Habermas and Jacques Derrida. Chicago: The University of Chicago Press.
連結：
Bottoms, Stephen. 2006. “Putting Document into Documentary: An Unwelcome Corrective?” The Drama Review, Vol. 50, Issue 3, pp. 56-64.
連結：
Bradby, David. 1988. “‘Enter le mythique et le quotidien’: myth in the theatre of Michel Vinaver.” Myth and Its Making in the French Theatre: Studies Presented to W. D. Howarth. Ed. E. Freeman, H. Mason, M. O’Regan and S. W. Taylor. Cambridge University Press, pp. 205-14.
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