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Howard Brenton's main disputation in The Churchill Play, a contribution to the 1974 Churchill centenary, seems to be two-pronged: on the one hand, a criticism of the very process of mythologisation, and on the other, a discussion of the reasons why the Churchill myth holds its repressive and timeless values. Brenton overlaps and juxtaposes three dimensions of historical time: the history of Churchill's England, which is reflected in the Churchill camp prisoners' play; the present of the 1974 audience, which is reflected in the camp prisoners' depressing memories; and the prisoners' present, which is shockingly presented as the audience's future, 1984.
The violent, emotional deconstruction of the war myth has a significant and integral place on the radical agenda of Brenton's drama, and I will not ignore this agitational propagandist element in this paper, which contributes to an emotional attack on the complacent political attitudes of the audience. But my focus here is more on Brenton's self-conscious examination of the work of political drama in a society where even serious theatre is marginalised as recreation. I argue that the play addresses the function of political theatre in a specific social context. It provides an exemplary critique of agitational political theatre.
In the play, Brenton not only attempts to counterpose self-conscious alternative working-class history, but also points out the limitation of the oppositional force's capacity to resist the ideological oppression. When the internees' play-acting is linked to the attempt to escape the camp at the last moment, the internees' play itself becomes a comment on a troubled relationship between the play and the reality, thus standing as an allegory of the function and limitation of political theatre. I conclude that the play is the contradictory expression of a radical dramatist in a conservative political atmosphere, which is increasingly closing down the possibilities for real political change.
The violent, emotional deconstruction of the war myth has a significant and integral place on the radical agenda of Brenton's drama, and I will not ignore this agitational propagandist element in this paper, which contributes to an emotional attack on the complacent political attitudes of the audience. But my focus here is more on Brenton's self-conscious examination of the work of political drama in a society where even serious theatre is marginalised as recreation. I argue that the play addresses the function of political theatre in a specific social context. It provides an exemplary critique of agitational political theatre.
In the play, Brenton not only attempts to counterpose self-conscious alternative working-class history, but also points out the limitation of the oppositional force's capacity to resist the ideological oppression. When the internees' play-acting is linked to the attempt to escape the camp at the last moment, the internees' play itself becomes a comment on a troubled relationship between the play and the reality, thus standing as an allegory of the function and limitation of political theatre. I conclude that the play is the contradictory expression of a radical dramatist in a conservative political atmosphere, which is increasingly closing down the possibilities for real political change.
목차
Ⅰ. Introduction
Ⅱ. The “Resurrected“ Churchill in the Internees‘ Play
Ⅲ. The Continuation of the Churchill Myth: Britain in 1984
Ⅳ. The Internees‘ Play vs. the Internees‘ Reality
Ⅴ. The Internees‘ Play as a Failed Artistic Terrorism
Ⅵ. Conclusion
Works Cited
Abstract
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