How is the theme of trauma reflected in ‘truth and reconciliation’?

In ‘truth and reconciliation’, Greene portrays the deep-rooted connection between history and
trauma through multiple depictions of characters in post-colonial contexts. In observing their shared
social reality, we can see that Greene intended to demonstrate the pervasive and innate nature of
trauma, and how it can cultivate a sense of identity.

Greene effectively conveys the universality of post-colonial trauma by neglecting to name her
characters, and instead using broad terms like ‘mama’ and ‘Bosnian woman.’1 These general titles
could correlate to a general experience, emphasizing the idea that the events could happen to
anyone. This ties into the concept of a cross-cultural unity born out of trauma. Additionally, these
terms make up different social roles, which reinforces the notion that the characters’ historical ties to
colonialism are a part of their identity.

Furthermore, Greene indicates that generational suffering is inescapable, and, in fact, worsened,
with a lack of mutual communication. This is most evident when reading the pages based on the
family in Rwanda. In particular, the role of the ‘Widow’, who is determined to find out the truth
about her husband’s death, despite the information being withheld from her. The final moments of
the play, in which the real cause of the husband’s death is revealed, are also the moments in which
the widow can speak without being interrupted in her attempts to discover the truth, thus
suggesting a reconciliation within the family can take place.2 Although she never finds out the events
surrounding her husband’s demise, she is offered some form of closure in meeting his murderer.

In contrast, the family in South Africa never meets the ‘officer’ responsible for their daughter’s
death.3 Perhaps, this particular discrepancy could be representative of the injustice and inequality
that is inherent to any post-colonial society. Hence, it can be argued that the text depicts trauma as
something that exists on a systemic level, as some characters are significantly less likely to succeed in
their quests for truth and reconciliation.

Greene also writes with a demotic style, consisting of overlapping, short sentences, and repetition,
as well as adding in ‘active silences’ and ‘beats’ to set the rhythm of each scene. Although this is
effective in establishing the play’s conversational tone- since dialogue occurs in such a colloquial
manner- it simultaneously crafts somewhat of a distressing tone. For example, the Zimbabwean man
repeating the interrogative, ‘Is she still alive?’4 elicits feelings of uncertainty and fear, bringing to the
surface his own trauma. This could suggest that Greene wanted the theme of trauma to set the tone
of the text, indicating that is a hugely significant part of any post-colonial society.

To conclude, Greene utilizes the theme of trauma to provide a critique of how social injustice and
inequality limit who can sustain truth and reconciliation, despite the shared suffering of the
characters. Thus, it is clear that Greene’s ultimate intention was to articulate how trauma should be
addressed on both a personal and systemic basis.

Bibliography Tucker Greene, D. truth and reconciliation, London, Royal City Court Jerwood theatre

1
Tucker Greene, D. truth and reconciliation, London, Royal City Court Jerwood theatre, p. 3.

2
Tucker Greene, D. truth and reconciliation, London, Royal City Court Jerwood theatre, p. 70.

3
Tucker Greene, D. truth and reconciliation, London, Royal City Court Jerwood theatre, p. 75.

4
Tucker Greene, D. truth and reconciliation, London, Royal City Court Jerwood theatre, p. 58.
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