1/30/2024 0 Comments Grateful dead 1992 space![]() ![]() Modern British playwrighting: Voices, documents, new interpretations. The enduring legacy of ‘Laramie,’ two decades later. Natanson (Ed.), Essays in phenomenology (pp. ![]() Akhtar (Ed.), The wound of mortality fear, denial, and acceptance of death (pp. Fear of death: Analyst and patient in the same boat. Hacettepe University Journal of Faculty of Letters, 36(1), 99–109. Memory as resistance in documentary drama: The Laramie Project and The Exonerated. Brown (Ed.), Verbatim: Staging memory & community (pp. Performing the testimonial: Rethinking verbatim dramaturgies. Death and dying in the contemporary United States: What are the psychological implications of anticipated death? Social and Personal Psychology Compass, 6(2), 186–195. Putting the document into documentary: An unwelcome corrective? TDR: The Drama Review, 50(3), 56–68. Telling the truth: How to make verbatim theatre. Through analysis and comparison of two documentary plays: The Laramie Project (2001), in which the dead individual remains poignantly absent, and My Name Is Rachel Corrie (2005), which challenges convention by giving the deceased Rachel Corrie a bodily presence on stage, this chapter aims to explore some of the different ways documentary theatre can present grief, death, dying and the dead on stage.īelfield, R. However, they usually do not include testimony from the deceased individual, nor are they portrayed on stage (p. Cantrell (2013) comments that many documentary plays focus on the death of a particular individual. Audiences cannot as easily distance themselves from death’s emotional reverberations. Therefore, the reality of death can be considerably more confronting in documentary theatre than in more conventional forms of theatre. Similar to documentary film, it typically seeks to address and represent stories, events and people from the ‘real’ world in which we live, as opposed to a world imagined by the theatre maker. The phrase ‘documentary theatre’ is frequently used as a broad all-encompassing term to describe the creation of non-fiction theatre from existing or found documents such as archival materials, original documents, letters/correspondence, diaries and recorded interviews. Palgrave Macmillan, 2013.) uniquely influences the way the medium can comment on death. Documentary theatre’s positioning as “theatre of the real” (Martin, C. ![]()
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