"Thoughts that think in straight lines cannot see round corners ... ": transgressing the realist narrative form

Ravengai, Samuel

"Thoughts that think in straight lines cannot see round corners ... ": transgressing the realist narrative form

Thesis / Dissertation

2001

Publisher

University of Cape Town

Department

Department of Drama

Faculty

Faculty of Humanities

Abstract

[.˜BUT copy accompanied by videocassette with title: Trauma Centre.˜] The present study is a theoretical explication of the production Trauma Centre written and staged by the author in December 2001. This production set out to critique traditional ways of thinking, writing and perceiving reality in Zimbabwe. These 'traditional ways' manifest themselves as nineteenth century British realism, nationalist realism and socialist realism, which are denounced, in Marechera's apt phrase, as 'thoughts that think in straight lines .. .'. These creative methods were inculcated into the Zimbabwean psyche through the dual processes of persuasion and coercion, in fl order to serve political and cultural goals of the political dispensations which promoted them. The argument is advanced that all of these forms of realism have a specific and privileged way of depicting reality which they exclusively promote. They all disqualify alternative versions and on that basis they are despotic. The production of Trauma Centre attempts to circumvent the stated problem by discarding the rationality, linearity, and monoculturalism of the realist text. In chapter one, the argument against realism is presented and explored and a theoretical proposal outlined. Chapter two explores Dambudzo Marechera's theory of discontinuity and fragmentation as well as Wale Soyinka's version of theatre of the absurd as performance historical context for the present study. Chapter three examines the creative method applied in writing and directing Trauma Centre. This creative method is largely influenced by the chaotic political events in Zimbabwe dating back as far as the seventies. An attempt is made to explicate the representation of the architecture of chaos, absurdity and bondage in the text and performance.

Keywords

Theatre and Performance

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