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“Being Human”: Edward Bond’s Theories of Drama

100%
Allen D., Handley A.
Text Matters: A Journal of Literature, Theory and Culture
|
2017
|
issue 7
307-329
EN
The playwright Edward Bond has recalled the impact of seeing photographs of Nazi atrocities at the end of World War Two: “It was the ground zero of the human soul.” He argues we need a different kind of drama, based in “a new interpretation of what it means to be human.” He has developed an extensive body of theoretical writings to set alongside his plays. Arguably, his own reflections on “what it means to be human” are based in his reaction to the Holocaust, and his attempt to confront “the totality of evil.”Bond argues we are born “radically innocent.” There is a “pre-psychological” state of being. The neonate does not “read” ideology; it has to use its own imagination to make sense of the world. To enter society, however, the child must be corrupted; its imagination is “ideologized.” Bond claims that “radical innocence” can never wholly be lost. Through drama, we can escape “ideology” and recover our “autonomy.” It leads us to confront extreme situations, and to define for ourselves “what it means to be human.” The terms of Bond’s theory are Manichean (innocent-corrupt, autonomous-ideologized etc.). His arguments are based in the assumption that there is a fundamental “humanity” that exists prior to socialization. In fact, the process of socialization begins at birth. As an account of child development, “radical innocence” does not stand up to close scrutiny. Arguably, however, Bond’s work escapes the confines of his own theory. It can be read, not in terms of the “ideologized” vs. the “autonomous” mind, but rather, in terms of “conscious” and “unconscious.” In Coffee (2000), Bond takes character of Nold on a journey into the Dantean hell of his own unconscious. He does not recover his “innocence,” but, rather, he has to face the darkness of both history and the psyche.
2
Publication available in full text mode
Content available

“Being Human”: Edward Bond’s Theories of Drama

100%
Allen D., Handley A.
Text Matters: A Journal of Literature, Theory and Culture
|
2017
|
issue 7
307-329
EN
The playwright Edward Bond has recalled the impact of seeing photographs of Nazi atrocities at the end of World War Two: “It was the ground zero of the human soul.” He argues we need a different kind of drama, based in “a new interpretation of what it means to be human.” He has developed an extensive body of theoretical writings to set alongside his plays. Arguably, his own reflections on “what it means to be human” are based in his reaction to the Holocaust, and his attempt to confront “the totality of evil.”Bond argues we are born “radically innocent.” There is a “pre-psychological” state of being. The neonate does not “read” ideology; it has to use its own imagination to make sense of the world. To enter society, however, the child must be corrupted; its imagination is “ideologized.” Bond claims that “radical innocence” can never wholly be lost. Through drama, we can escape “ideology” and recover our “autonomy.” It leads us to confront extreme situations, and to define for ourselves “what it means to be human.” The terms of Bond’s theory are Manichean (innocent-corrupt, autonomous-ideologized etc.). His arguments are based in the assumption that there is a fundamental “humanity” that exists prior to socialization. In fact, the process of socialization begins at birth. As an account of child development, “radical innocence” does not stand up to close scrutiny. Arguably, however, Bond’s work escapes the confines of his own theory. It can be read, not in terms of the “ideologized” vs. the “autonomous” mind, but rather, in terms of “conscious” and “unconscious.” In Coffee (2000), Bond takes character of Nold on a journey into the Dantean hell of his own unconscious. He does not recover his “innocence,” but, rather, he has to face the darkness of both history and the psyche.
3

Mere solidarity is not enough: Exploring dystopian reality in Edward Bond’s The Tin Can People

71%
Varal S.
Beyond Philology: An International Journal of Linguistics, Literary Studies and English Language Teaching
|
2018
|
issue 15/3
135-148
EN
Solidarity is an indispensable part of the utopian and dystopian world since people gather around a common cause either to create an ideal community or to get rid of a difficult situation. Unlike utopia, in which solidarity mostly comes out voluntarily, in dystopia, it grows up compulsorily triggered by emotions such as anxiety, distrust, paranoia, and fear primarily due to a totalitarian regime or the effects of a nuclear war. However, in The Tin Can People (1984), British playwright Edward Bond propounds a new perspective to post-apocalyptic dystopia by portraying a group of people who create a utopian community, a heaven in the aftermath of a nuclear holocaust, as a result of living in solidarity. This article aims to trace how dystopian world reveals the bitter ‘reality’ against this illusionary heaven with the arrival of a stranger and dissolves the community despite the solidarity that the survivors have been preserving for years to show that mere solidarity is not enough to save a community.
PL
Solidarność stanowi niezbędną część utopijnego i dystopijnego świata, ponieważ ludzie gromadzą się wokół wspólnego celu stworzenia idealnej społeczności, lub znalezienia wyjścia z trudnej sytuacji. W przeciwieństwie do utopii, w ramach której solidarność opiera się na zasadzie dobrowolności, w dystopii solidarność wynika z konieczności, będąc pobudzana przez takie emocje jak strach, nieufność, paranoja i niepewność wywołane przez reżim totalitarny, lub też spowodowane przez wojnę z użyciem broni nulearnej. W sztuce The Tin Can People (1984) brytyjski dramaturg Edward Bond proponuje nowe spojrzenie na post-apokaliptyczną dystopię przedstawiając grupę ludzi, którzy żyjąc w solidarności tworzą utopijną społeczność pośród ruin świata zniszczonego przez wojnę. Poniższy artykuł ma na celu zbadanie, jak pojawienie się w niej człowieka ze świata zewnętrznego ujawnia iluzoryczność idealnej społeczności poprzez wprowadzenie elementu śmierci należącej do realnego dystopijnego świata. Pomimo solidarności, którą ocaleni budowali przez lata ich społeczność ulega rozpadowi, dowodząc, że zwykła solidarność nie wystarcza, by ocalić społeczność.
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