eft g-15 Bodies of Evidenceyy Cane tory —the complex ways in which men and women think about the evens chat transit) i dacapes oftheir lives. Muck post-9/1T documentary theatre is etched with the i the creation of their own versions of events, beliefs, an Taian precisely che rie explitng technology that enables replication; vdeo, film, tape recorders, radi, Copy mac technological copy me Jocunentary theatre. While documentary theatre remains i the realm of hand issemble to crete it, meet to write i, gather to see it—it sa form of theatre ay is primjary factor in the transmission of knowledge hines, andl computers are the sometimes visible, sometimes invisib eralt—people jn which rch Hee the technological postmodern mectsoral-theatre culture. The most advanced mean cfrepication an simulation are wsed xo expeure and reproduce “what really happened” for resentation i che ive space of the theatre. Technology i often he inital generating com- pent of the Wipartite structure of contemporary documentary theatre: technology, text em by, "The bodies ofthe performers a well as the bodies of those being represented aivocamentary theatre are decisive in ways that overlap but are also different from fie~ tive theatre In docomentary being tok But more ofen than not documentary theatre is where “real people” ate absent— navalable, dead, disappeared yet reenacted. They are represented through various Ineats including stage actin, film clips, phoogeaphs, and other “dacuments” that attest to the veracity of both the story and the people being enacted! re, the performers are sometimes those whose stories are How events are remembered, written, archived, staged, and performed helps determine the history they become. More than enacting history, although it certainly does that, docu- ‘mentary theatre also has the capacity o stage historiography. Atits best, it offers usa way to think about disturbing contexts and complicated subject matter while revealing the virtue and flaws ofits sources, “History i hysterical: i is constituted only if we consider i, only if wwe look at it—and in order to Jook at it, we must be excluded from it,” writes Roland Barthe: (0981:65). Yer as Freddie Roker points out: “The theatre ‘performing history” seeks to over: ‘come both the separation and the exclusion from the past, striving to ereate a community. where the events from this past will matter again” (2000exi). In practice, much of contempo rity documentary theatre is written contemporaneously with the events that ae its subject, Ie directly intervenes in the creation of history by unsettling the present In the interest of diferentintng documentary theatre from other Forms af thea, specially historical ction, its wseful ro understand itas created from a speife body of nto proffer arb twchied materials interviews, documents, hearings records, wide, film phorograph etc. 2 poll power, Pom ef Most contemporary documentary theatre makes the claim that everything presented i part lec Be fy 0. Sener ofthe archive. But equally importants the fact that not everything inthe archive i par of (Pho by Michal Daniel) the docamentary. This begs the erucial question: What is che basis for the selection, order, and manner of presentation of materials from the archive? The proces of selection, cig, Sullivan —in production Carol Martin 1. Mois Kaufman The Lavoie Poet (2000) is inereing at employs different kinds of ating. The style of acing varies depending aon the actor involved. According to dramstrge Steve Wang, Andy azis was ‘aoc intent than the other ators in grr veracity peeling in these of Anna Devere Smith Othe or are cnvntnsl ating, using thei cach o “bl characters” Ina email Wangh manda Gronich wa always a naar character acto, doing vocal imitations, while Grog Pio ee ‘ade only alight personal adjstecns in she direction of character (2002). According to Wang, Kanan seme terse insisted on actors mineaining «Breton distance between shemscves and tei chatacters bedi not enter Her mas recent boo wan the acto pessae to ety disappear. fit, he boindaies between diferent approaches to frehcoming, Soul! Pres Uocumeatary acting ate er Fi / AralNYU, Her exaye and A have ben translated nto 2 ‘TDR The Drama Review 50:3 (1191) Fall 2006. © 2006 [Now Yrk Usineniy andthe Manachanes Intute of Tecnology °EE Creating performances from edited archival material can both foreground and problematize the nonfietional even a it uses actors, memorized dialogue, condensed time, precise staging, stage sets, lighting, costumes, and the overall aesthetic structuring of theatrical performance. The process is not always cransparens. Documentary theatre creates its own aesthetic imagi- naries while claiming a special factual legitimacy. Doéuinentarythestre takes the archive and turns it into repertory, following a sequence from behavior to archived records of havior tothe restoration of behavior as public per formance, At each phase, a comple set of transforiatons, interpretations, and inevitable distortions occur. In one sense, there is no recoverable “original vent” because the archive is already an operation of power (who decides what is archived, and how). The interpolation of a document between what is behaved and what is performed underscores Richard Schechner’s theory of “restored” or “twice-behaved behavior” The three core ideas of Schechner’s theory are that the future exeates the past, hat al behavior is ewice-behaved, and that public perfor- mance is of the “not” and the “not not” (1985) The future erates che past by constructing a past specifically designed o make a particular Future more likely to occur. All social behay= for is actually the performance of “strips of behavior” that have already been behaved and, are, therefore, “twice-behaved.” Apparent originality occurs atthe level of arrangement and context. The “not” and the “not not” ave inherent in role-playing. The roks ane plays--An Social life as well asin the theatre not oneself but are not not oneself staged polities, sificnstances of documentary’ ChatFe construct the past inservice of a future the authors would like to create. As twice-behaved behavior, documentary theatre self-consciously blends ito and usurps other forms of cultural expression such as political speeches, courts of hw, forms of politcal potest, and performance in everyday life. A a condition of performance, the actors on documentary sages perform hoth as themselves and as the actual personages they represent. The absent, unavailable, dead, and disappeared make an appearance by means of surrogation. What makes documentary theatre provocative isthe way in which i sta cally deploys theappearance}ottruch, while inventing ts own particular tuth through elabo= rate aesthetic devices, a srategy thats integral tothe restoration of behavior. With the use of technology, embodied practice does not necessarily proceed body to body. Nor is the move from repertory to archive a one-way move. Diana Taylor aserts thatthe repertoire is distinct from the archive in that it requires presence (2003:20), With documen- tary theatre the repertoire still requires presence but i also often requires technology as an integral part ofthe means to embodied memory and as necessary forthe verification ofthe factual accuracy of both the text and the performanee, Performance knowledge becomes ‘eprodacible, even embodied, via an archive a least partly created from film, video, audio recordings, and digital manipulations, Taylor observes tha history and memory exist on two parallel but not intial lines: che archive (locuments) and the repertoire fmmbodied snemory oral tradition). With documentary theatre, the domains ofthe archive andthe rep- ertoire are blurred, Theatre director Chris Mirto commented that performing documentary theatre was “like lip-synching, a frozen thing—but the body sill moves, The voice and body are together and separate atthe same time,” reminding us that new media creates new ways of understarling and experiencing embodiment.? The vey “original” ray on are increasingly viewal archives, which confer legitimacy and give a strong feeling of being there,” ofthe "eal thing.” Adherence to an archive makes documentary theatre appear closer to actuality than fiction. ‘The archive is conctete, historically situated, and rela- sively permanent; is material and lstiig while theatrical presentation is imtangible and 1 documentarians 2. Chris Mico and {had this conversation oa 21 Januaty 2006 ar Tw his staged seading of Dion in 5 athe Jefferson Market Libary. Miro ha seen Brin De Palas in of The Peformance Group 1968 produccon, which leaves out jor potions of dhe ply Theil, the orginal pesformance ext proton photographs, and Max Waldman stadio phocographs ofthe birth and death tual were the decent Min used vo mount hi sage readingYe 7 ound and problematize d time, precise staging, ‘theatrical performance hemeral We kno als, hat filming and recording change what is documented the SP ments of preservation affect what's preserved, tS own aesthetic imagi- vee jocunentary thestre emphases ertain kinds of memory and buries others: What is sate the archive-—glances, gestures, body language, the Felt experience of space, and the following a sequence troximsty of boies—is real by actors havior as public per T directors according to their own rules of Ironically, it is precisely what is not in tions, and inevitable Mnisibilty. The hidden seams of docurnen "case the archives ate rae questions about theeontin- the archive, what is added by making Laer read staves scent ant vinltn. hy grhive into repertory that infuses sof Schechners theory verey nul think ol us thenve.trisjne- €OCUMentary theatre with its particular and that public perfor- Teely the way interpretation is built from what theatrical viability. past by constructing a je not part of the archive that brings “real lie cur. Al social behav. i blievabiity to documentary theatre. The ybeca behaved and mony of the ators gives the evidence of the playwright factual versimilcude, Ironically of arrangement and ‘Feats precisely what is notin the archive, what is added by making the archive into reper- Toles ne playa thay, chat infoses documentary theatre with is particular eheatrcalwabilty. BAP staged polities, ‘eidence and testimony ar ved in ways not unlike a core of aw. The path of evidence Sey e kas can be forensically constructed from the archive, as a good prosecutor reconstructs a eritne. self-consciously blends Tm both the theatre and the courtroom, the evidence serves as a pretext for the testimony of tion of performance, ve oe 1e actual personages 1 appearance by means yin which it steategi r truth through elabo- Evidence is typically impersonal—material objects, laboratory reports, bank records, etewhile testimony involves the narration of memory and experience. The drama of 4 tral, least U.S. trials, depends on presenting evidence in the form of conflicting testi- ‘mony: Documentary theatre draws on this courtroom tradition of conflicting narration. audiences havior Its practitioners use the archive a5 evidence to create a performance of testimony tinderstand what they see and heat as nonfiction; the actors ostensibly perform “verbatim.” proceed body to body ‘Thisallows an audience to forget tht creating any work ou of edited archival materials relies or asserts chat the the formal qualities of 3 " con the formal qualities of ietion as much as on archival evidence. The ral lfe drama ofthe 20), With docunen- Courtroom is no different, finaly. In cour, asin documentary theatre the forensic evidence technology aban stored in the archive is as much constructed as itis found. Not only do the police frequently e verification ofthe fabricate evidence, but also both the prosecution and the defense do everything they ean to owtedge becomes st might support/destroy their ease. patged ceredit/diseredit evidence that might support/destroy th oie fembodied archive an the rep ming docuentary “The vice and body hat documentarians inetary theme iy stunted a rl nisinangle and Herein lies the problem. Ts documentary theatre just another form of propaganda, its own system of constructed half-truths for the sake of specific arguments? Typically its texts and performances are presented not just asa version of what happened but the version of what hap- pened. The intention is to persuade spectators t understand specific events in particular ways. Even when the texts indefinite in its conclusions, audience response may not be. The occasion of documentary theatre can be scen asa political affiliation in and of itself. The outrage at New ‘York Theatre Workshop's decision to postpone a production of My Name is Rachel Cori, the story ofthe 23-year-old pro-Palestinian American activist crushed. to death by an Israeti bull- dozer while trying to protect a Palestinian home is a case in point. James Nicola, the artistic director of New York Theatre Workshop, made the decision to postpone the play after canvass ing unidemttied Jewish friends and advisors. “The uniform answer we got was that the fantasy that we could present the work ofthis writer simply as a work of ar without appearing to take 8 positon was just tha, a fantasy” Nicola commented (in McKinley 2006:2). The play aide, St podton ‘overly determine the reception of the play in the US. after her death Rachel Corrie became a polariving figure. Yasser Araft ionized her asa marty ® sing of Dion in) aligning her memory with that of suicide bombers (Segal 2006:1). Nicola expressed concer 5 mance Group 1968 thatthe January 2006 Palestinian eletion of Hamas, bent on the destretion of Israel, would & F aRachel Gorrie was w Jygcally on the side of the Palestinians. ‘Toward the end of the play, she answers her mother’s suggestion that Palestinian violence against Israel may justify jan aetion as resistance co occupation. Corrie accuse the Israeli government of defying the fourth Geneva Convention “which prohibits collective punishment, prohibits the transfer of an occupying country’s population into an occupied trea, prohibits the expropriation of water resources and the destruction of eivlian infra: structure such as farms [..J" (Rickman and Viner 2005:48). Corre's story in the editing of her emails, letters, and diary entries—presents her desire to end the suffer- ing of Palestinians even atthe cost of her own life, Israel’ actions by defending Pale as represented “The play does not mention the tunnels from Egypt into Gaza used for transporting rocket launchers, guns, and explosives (Rothstein 2006:1). Nor is there any discussion of the ‘countless and continuing attacks on Israeli civilians intended not only to kill with explosives but also to maim with packed nails and traumatize the memory of Jewish festivals. (The 1996 Purim massacre at Dizengoff Center, inchuding the murder of children dressed up in costumes for the holiday, and the 2002 Passover massacre at the Park Hotel in Netanya where many of the celebrants were Holocaust survivors, and for which Hamas claimed responsibility, are ‘only two examples.) On both sides, the lists are long, And on both sides there are many— Tstaclis and Arabs, Jews and Muslims—who work for peace every day of their lives, My Naan is Rachel Corrie isa very disturbing and moving play. Rachel was so young when she died and yet had been an activist for so leng, Rothstein is correct when he poines out, Corrie’ is an unusual voice, engrossing in its imaginative power, hinting at adolescent transformation and radicalization” (2006:1), The play is finally about Rachel Corrie, not the Isracki-Palestinian conflict. The lst scene of the plays a video of Rachel recorded at her Fifth Grade Press Conference on World Hunger: My dream is to stop hunger by the year 2000. My dream is to give the poor a chance. My dream is co save the forty thousand people who die each day. My dream can and will come true if we all look into the future and see the light that shines there, TF we ignore hunger, the light will go out, If we all help and work together, it will grow and buen free with the potential of tomorrow. (Rickman and Viner 2005:52) Rachel's light did go oat while enacting her political conviction. We need to know this, We need to weep over our collective failure to make the world che place it eould be. We need to see My Name is Rachel Corrie and react according to our own convietions Asking spectators to examine the ways in which documentary functions is very much a part of some forms of documentary theatre. Artists such as the Lebanese Walid Raad ond the German ditector Hans-Werner Kroesinger create work that subverts ordinary documentary theatre by complicating and interrogating The paradox of a theatre of facts that +#chival truth. The result isa genre that can uses representation to enact a invite contemplation of the ways in which sto~ ries are told—a form of Brechtian distancing relationship to the real should not be that asks spectators to simultaneously under- lost in the enthusiasm for a politically stand the theatrical, the real, and che simu Tated, each as its own form of truth. vieble theatre Carol Martin (One might ask what documentary theatre does, what are its funetions? These include: 1. To reopen trials in order to eritique justice, as in The Trial ofthe Refusenits (2004) by Igal Ezraty (included in this issue), Gros Indecncy (1997) by Moisés Kaufman, and the tial plays of Emily Mann, Execution of Futce (1983) and Greensboro (A Requiem) (1996). 2. Te ercate additional bistorical acounts, as do Am My Own Wife 2003) by Doug Weight (inwerviewed in this issue), Talking te Terrorists (2005) by Robin Soans, Guantanamo: “Honorans. Toward the end of the inst Tnel may justify “which prohibits collec »pulation into. “ an occupied ruction of civilian infra. e's storys represented. her desite to end the suffer. 1 used for transporting there any discussion of the ronly wo kill with explosives Jewish Festivals, (The 1995 day of hei en ect when he poe ane hinting waolescene out Rachel Corrie nt the Machel recorded at hee jive the poor a chanee. y- My dream can and at shines there. If we ether, ie will grow and 20085:52) fe need to know this, We eit could be. We need to inetions is very much a nese Walid Road and the +s ordinary documentary ring and interrogating result isa genre that can of the ways in which sto- \ of Brechtian distancing 0 simultaneously under the real, and the simu form of truth, sat documentary theate. tions? These include: asemits (2004) by Igal sufiman, and the trial Requiem) (1996), 3) by Doug Wright ans, Guantiname: “Honer From an email t Carol Martin from Ari Roth, anionic Drgeton, Teotre J, Washington DC, 24 April 2008 play UMy Name Is Rachel Corrie) is significant rt itloaves out the other people who've died; it leaves out some Ss sing al tunels al homes in the West Bank and Gaza, ane reasons ir elit eferoneos in Corre’s esto the IDF perpetrating italso loaves Out AF cinian poopie (see Rachelewords.org}. While violence sgenocida” 298ine\ yori, it wouldn't be accurate to characterize it as genocidal portrait ered, Who are the perpet and murder ie gecmingly switched places. tre look, smell, and foel ike i in all but name. The play presents the 2 population boing systematically starved, terrorized, crushed, tors? Some 60 years after the Shoah, victims and vrion of the dramatic protagonist, Rachel Corte, is an unconscious, or very “The oro ithe symbol of Anne Frank as icon of indiscriminate violence and deli e erjmotional effectivoness serves to shove the icon of Anne Frank off viotimization, ace it with @ newly minted edition of our millonnium’s new martyr sho stag oe Frank and Ahoan, Rethel Com. 11 Gillian Slovo, and The Coleur din this issue)? Bound to Defend Freedom 2004) by Victoria Brittain af justice (1999) by Nicolas Kent and Richard Norton“Taylor (all discus 4, Te rcantrt an even, as in Three Pasters: A Performance/Video (2000) by Elias Khoury and * Rabih Move (in this sue), and even a total environment such as Plimoth Plantation.’ 4 To intermingle autobiography with binory, asin Ron Vawter’s part-documentary Roy Cobn/ ‘Jack Smith (1904) in-which Vawter sutuces the lives of thtce very different gay men: Roy Cohn, Jack Smith, and himself; in Leeny Sack’s The Sarvicor anu the Transatar (1980), built around on interview she did wih her maternal grandmother, Rachela Rachman, 2 Holocaust survivor; and in Emily Mann's Annulla: An Autobingraphy (1977), the story fof Holocaust survivor and her interviewer. s.Isevuc espero ab xcnenary fin, does Wald ants Aes Group Cielo nts nu) whch the arene rer sled and inetd 6. Teeter eon ar of earn which gears manned nates are posed sree chy sdb ana Deere Ss cen hich she teeters of aries to both beam poses by thom an aie Soposin bw th soy lf an teers Non 99619) Theparloxafa thee of fs that wes repeentaton enact eainshipwotbe rel“) shal beta nth ens for play ble heat Documentary ene’ Ung tere and the eee hss oblate lens nbigwns “rset "dbulranast tei shows tp a pre of the meiaucaon of everyday life. Where does one type of performance leave off and another begin? No doubt the plirave “documentary theatre” fuls us, Ie is inadequate. Yet at present i isthe best phrase available, In the ULK., documentary theatre is known as “verbatim theatre” because ofits Ax pesene this ithe lanes a reumerrary teat. Cox-2001 pay nae The Ener (2604) by fsica Blanket Ek J we Raced Corie (2005) eed by Alan Rickman ard Katharine Vine, Sgy Happens (2004) a rent Way (2003) by David Hate, Th doc Cook w (200) by Rain Soans and fos War (2103) edited by Rchard Norton Talon, amang many others What m + estore villages such a Plimoth Plantation in Plymouth, Mastachusctts, and muscums sich mane Musca in New Yoo diffrent fom other kinds of documentary theatre i thatthe actos urate, bt mo ete, 20 lerae wit the audience. The dialogue i serie, planed wa be historically ‘ar ny can answer queso sd have conversations with che auience as long as te frame of elrence ispenchant for dicect quotation. However, verbatim theatre daes not necessarily display its quo. tation marks, is exact sourees. “Verbatin” ean also he an unfortunately accurate description of documentary theatre as it infers great authority to moments of utterance unmitigated by an ex post facto mode of maturing miemory. [ts duplicitous nature is akin to the double-dealing of television docudramas, Because so much documentary theatre has been mule in order to “yet the record straight” ‘orto bring materials otherwise ignored ro the publie's attention, we ought not ignore its ‘moral and ethical elaims to truth, Its no accident that this kind of theatre has reemerged ‘during a period of imernational crises of war, religion, government, truth, and informa tion. Governments “spin” the facts in order to tell stories. Theatre spins them right back in order to tell different stories, Poststrueturalist thought has correctly insisted that social real ity—including reporting on social reaicy—is constructed, There is no “really real” anywhere in the world of representation. Depending on who you are, what your polities are, and so on, documentary theatre will sem to be “getting atthe truth” of “telling another set of lies.” Representation creates multiple truths for its own survival oral, textual, and performed stories invite repetition, revision, and reconfiguration. | Theatre, afer all, combines the emotios weight of storytelhing with erath-teling and a sense of experiencing something happening right infront of our eyes. At the sane time, theatre fs miragelike Ie disappears as you get closer to it and as you submit ito rigorous examination. Documentary theatre's seemingly table telling and recelling inthe context othe ephemeral medium of theatze points to how quickly the past ean be broken and sembled. Offical memory hws announce both the importsnee and politica lability of memory in determining historia! truth Tven when the laws are apparently objective ad accurate legislating historical truth rases suspicion beeause it dictates opinion and forecloses onleyslative memory regulation—such as some forms of documentary theatre—is ostensibly designed to offer the opportunity to reexamine and reconsider evidence and opinion and exerese freedom of speech. In practice, documentary theatre can be as freedom of speech. prescriptive as itis provocative in the way i funetions as its awn domain of memory. 5. Fane's 190 Gayman aw made deny Switch, Avi, Bs he Holocaust rime, Many counties inching Germany. ium, and Poland-—fllowed suc with sar memory laws 6, In"Anothet Kind of Metamorphosis" I wee about contested memory “Memory, when given it ime ad space isofien anguishing. So distessing ae parts of historians the Istitte of Nacional Remeneanes so bp dteisne what nail mmory might be. Right now Radu of ity yet go losin the sts of x cdzens, ae should. Tate, beaten or mented, stabbed ad hurne alive were the Jewish women, chile, ond men. Yer the menue rating the masace i wrong the wong date, she wrong peperton Msp Stash Stefanck of Loma says the peopl f the region were innoccat. In comping performative at, Reverend Henryk Jankowski agrecng wth tfspek ade a model of dhe chated an where 300 Jewish people were burned lie ral plbcd tin hic church co remind eongrepan othe fle accsaios agai them, A rel of «charted barn where 50 wre urdered asa remind of innocence? Why woul aayone wan to digse + symbol ‘of murder aa symbol of innocenee? This mt he what the Catholic Church meine by te inytey 0 Goa (2001:288-91, publiche in Poth) 7 tw 1992 Anna Deavere Seth ectorme ense Miror at the PabliTheate in New Yor. Ta the plays Sach ol the oves the Crowe Heights ioe aR an accent involve a ebb whose ca rick ile Gavin Cato, Blac cil which was allowed by ean mi 0g Jevih cha, ng dhe ways in which sacl juice ca be ands social and egos memory tha cen of asl Rosenbaim Fires then conceprualzed and staged P social justice To date, Mano’ dcurenary play te: Annas Allen: Te Anobigraphy of Sereior U5 1s Group, 1985), Sol Lf (1980: Dramatis May Service, 1982), xenon of ic une Mapcin, 1985), Having Our Say The Delany Sr Pie 100 Yous (995, Thee Anas se Sil Life wet rat fron ieviews, With Exenion of ustce up Creme (4 Reem cal recon, interviews aud neisper acorns to her intervie. i's work shat of ily Man who alo areses Communications Group, 1996), Greenir (4 Reynom) (1996; Thease Communications Crop, dal her docuouary technique by adding reconings ims, vie, cour sects, his___ ~ necessarily display its quo sate 20-centry documentary theatre tended to pvlege local and national naratives? ly accurate description phioes eionged aes 9/11, With the US. government using ts enormous military and crance unmitigated by i ower in many pasts ofthe world an shrouding its operations at home (the Patriot akin tothe double-deating rd Seen) as teed taco docareaary theatre wks beg o diese wlobl crises across national borders. How should we look a che murders of Stephen 1 the record straight” algonve and Matthew Shepard the abuses at Abu Ghraib and Guanténamo, Lebanese ‘ought not ignore is {avfombingy the Istasi-Palestinian conflict, che wars in Afghanistan and Iraq and the theatre has reemerged 2 abuse seandal in the Roman Catholic Church? How can we rogard al this as theatre? ‘wut, and informa~ ‘Seanly there is no single ideology or tye of presentation that best responds to these questions pins them right back in rsypaies dgcaientary these. As T writs, Las sure the form continues to morph. insisted that social rea Finally, whats eal and what is true are noc necessarily the same, A text ean be fictional no “reallyreal” anywhere yet tue. Atext can be nonfctonal yet untrue. Documentary theatres an imperfect answer r polities are, and so on, That needs our obsessive analytical atention especialy since, in ways unlike any other form another set of lies” Sfeheatte, it claims to have bodies of evidence cual, and performed m References with truth-tlling and Barthes, Roland res. At the stme time, wat Camere Lia. New Yorke Wang a il. submit it vo rigorous Marti, Carol cling in che context 2001 “Another Kind of Metamorphosis" In Kentksy,elited by Wlodzimiere Saniewski an be broken and Gia Polish), 208-91. Sauk: Instyut Seruki Polski) Alkademsis Nauk. nd political liability apparently objective and es opinion and forecloses ¢ forms of documentary Martin, Carol, ed 1996 A Seurseook of Feminist Theatre and Performance: On and Beyond the Stage. London: Rowtlege. e and reconsider evidence ‘McKinley, Jessie y theatre can be as 2006 "Play About Demonstrator's Desth Is Delayed.” New York Times, 28 FebraarysE2. pain of memory.$ Rickman, Alan, and Katharine Viner 2008 My Nem i Rese! Corie, London: Nick Hern Books +—ineluding Germany, Roker, Fredie oa 2000 Performing History Thentrice!Reprewntations of he Partin Contemporary Teste, Towa City ry when give rime and University of lwa Pres. memory tht tam of Rothstein, Edward rational memory might be cold. Taunsed, bee te 2006 10 Hot to Handle, Too Hot to Not Handle.” New York Times, 6 March:E1 et the monument cormeme- Sehechner, Richael nila Stefanek of Lana . * 1985 ‘Restoration of Behavior" In Betveen Theatre and Antbroplegy, 35-116, Philadelphia: everend Henzy Jankowski University of Pennsplvania Pres, le were burned alive and ” on. A model af «cared Segal, David want ro disguise symbol 2006 “War Cries and ‘Theatre's Contested Ground" Washington ort, 9 April-N ans by the myatery of God™ je Dae New Yk In he poy, 2003 ‘he Arcive an she Repertoire. Durham: Duke University Pres Ubi whos ca tuck Wangh, Steve young levis scholar 2002 which vocal justice can be == Mann who also addres sxsphy of Survivor 1977 1982): Execcion of tice iat 100 Yous (1995, Theatee nications Group 1997). Greensboro A Repu), videos, cout cad, histor ona Jo SPOR,