Abstract
Gibson introduces the book’s central purpose: to assess the extent to which the ‘right kind’ of dementia story, one of tragedy, loss of personhood, and socioeconomic crisis, is being affirmed or resisted in a select number of ‘theatre of the real’ productions and applied performance practices, mainly from Australia and the USA. Making a critical contribution to theatre and performance studies, Gibson uncovers the scarcely explored relationship between narrative and the construction of ‘reality’ as ‘normalcy’ determining ‘theatre of the real’ practice and scholarship and investigates the many ethical, political, and aesthetic issues arising from the paradox of theatres that rely on narratives from ‘real’ people being coupled with people not deemed to be ‘real’ (or ‘people’), in most Western cultures.
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Notes
- 1.
I prefer the term ‘care partner’ to ‘caregiver’ because I wish to challenge the notion implicit in the tag ‘giver’ that people living with dementia are ‘takers’. The relational dynamics between the two parties are far more complex than that. In fact, (old) people living with dementia may often give a lot to those caring for them, if the latter can learn to open up to the possibilities of the relationship.
- 2.
Using ‘our’ highlights that all ‘personal’ stories are born out of interrelationship, co-created with and through the stories of significant others in our lives. However, in claiming that this story is ‘ours’, I am ‘speaking for’ my mother, given the non-normative features of our communication. Although ‘my’ story is inextricably bound up with my mother’s, I am not her. I cannot know what it is like to live with AD, as I have not (yet) experienced it.
- 3.
Regarding terminology: throughout the book, I generally use the terms ‘people with dementia’ or ‘people living with dementia’ not to suggest that all people with dementia form a homogeneous group or that dementia is a stable disease category; rather, these terms are preferred over the more reductive ‘victim’, ‘sufferer’, or biomedically oriented ‘patient’.
- 4.
The term ‘unreliable narrator’ was first coined in 1961 by Wayne Booth in The Rhetoric of Fiction (158–159). It refers to a narrator, most often in literature, but sometimes in film or theatre, whose credibility has been seriously compromised.
- 5.
I have placed the word ‘real’ in inverted commas to highlight the many debates between certain philosophers and disability studies scholars over the personhood of the cognitively disabled and who counts or not as a bona fide person (Kittay 2009; Kittay and Carlson 2010). However, the real is not only a philosophically contentious idea but, especially within theatre and performance studies, a more problematic and ambiguous term than the mere application of inverted commas could underscore. These ideas are taken up in Chap. 4.
- 6.
Widely discussed to date have been, among other issues, its “paradoxical pairings” (Wake 2011, 1) including, for example, the personal and the political (Heddon 2008); replication (reiteration and re-enactment) and addition (formerly excluded stories) (Wake 2010a); the archive and the repertoire (Wake 2011); and reality and representation (Tigner 2002; Reinelt 2006, 2009; Bottoms 2006; Heddon 2008; Martin 2006, 2010, 2013). Interest has also been shown in trauma, telling, and witnessing (Salverson 1996, 1997, 1999, 2001; Stuart Fisher 2011; Jeffers 2006, 2008, 2009, 2012; Wake 2010a; Thompson 2004, 2005, 2009); the appropriation of life stories by theatre makers (Couser 2004; Dolan 2005; Baglia and Foster 2005; Heddon 2008; Casey 2009; Jeffers 2012); and the ethical and political challenges of dealing with people’s stories and the aesthetic challenges of creating interesting theatre from them (Patraka 1996; Peterson 1997; Salverson 1994, 1996, 1997, 1999; Lathem 2005; Jeffers 2006, 2008, 2009, 2012; Stuart Fisher 2011).
- 7.
Publications on drama therapy interventions with old people living with dementia are available, but they do not specifically look at the nexus between narrative and identity (Jaaniste 2011; Reinstein 2004). Innovative work is emerging in the applied theatre literature on care homes (Nicholson 2011; Hatton 2014) but not in regard to performed narratives in particular.
- 8.
In The presentation of the self in everyday life, Erving Goffman posits that the “self itself does not derive from its possessor, but from the whole scene of his [sic] action” (1959, 252). Using these ideas as a basis, Anne Basting argues that selves with dementia are more dependent on others than some other selves may be, but that this is not necessarily a problem if we picture selfhood to be on a continuum from a state of mythical independence to that of extreme dependence (2001, 79). Basting further argues that people with dementia will usually rely heavily on others for their sense of selfhood but that, to some extent, we all do.
- 9.
These terms are often used interchangeably to refer to conventional medicine. Biomedicine is the application of the principles of the natural sciences, especially biology, physiology, and biochemistry, to clinical medicine or research (MacIntosh 1999; OED Online 2014/2015). Medicine is “the science or practice of the diagnosis, treatment, and prevention of disease” (OED Online 2014/2015).
- 10.
The word ‘illness’ refers here to an individual’s experience of ‘disease’ (pathology), or of poor health, although ‘disease’ and ‘illness’ are commonly used interchangeably (Dokumaci 2013, 107).
- 11.
Care ethics is most often defined as a practice or virtue rather than a theory as such. It is based on the idea of the importance of caring for the dependent and vulnerable in society and is inspired by the mother–child relationship. Rooted in the sentimentalist tradition of moral theory, care ethics upholds the importance of care as an incentive in ethical thought, along with recognising the significance of emotion, the body, and reasoning from particulars over abstract ideas such as justice and agency which are enshrined in liberal human rights theory. It emerged in the mid-1980s from work done by psychologist Carol Gilligan and philosopher Nel Noddings who critiqued traditional moral approaches accusing them of male bias. Most care theorists argue that care involves maintaining relationships by focusing on the well-being of care-givers and care-receivers in a network of social relations (https://www.iep.utm.edu/care-eth/).
- 12.
Age studies is interdisciplinary and collaborative, drawing on research efforts from both the humanities and the social sciences, despite their very different research approaches. This is to be expected, given that age is a phenomenon that affects so many areas of life. However, some scholars are surprised at how long it has taken for interest in this field to burgeon, as it is a relatively new area of inquiry. These same academics have been arguing about the importance of its presence in the academy for decades where it should take “its rightful place with other intersectional classifications, such as gender, race, class, and ability” (Lipscomb and Marshall 2010, 4).
- 13.
The term “normative age-effects” is used by Bridie Moore (2014, 2), following Judith Butler, to underscore that age is produced as an effect generated by “cultural apparatus[es]” (Butler 1990, 199) through media images, performances on stage, and so forth. “Temporal depth” is a model of ageing that embraces change across the life span (Basting 1998, 22). For Basting, the ageing body on stage is valuable exactly because it can represent the spread of difference and variety of age across time (1998, 141). Cristofici’s (1999) “significant form” is a term moved over from Cristofici’s analysis of Jeff Wall’s photography to performance by Bridie Moore (2014): it helps assess whether a specific representation of age might admit the possibility of agency for old subjects. Kathleeen Woodward’s term “absence” is a reflection on the rejected, and therefore missing, ageing body (1991, 53–71). Woodward suggests that at the end stage of life, comparable to Lacan’s stage of infancy but in reversal, the old person rejects their mirror image as not being a true representation of self. This rejection brings on a psychic crisis (a dislocation of the imaginary). Woodward sees the mirror stage of old age as “inherently triangular, involving the gaze of others as well as the two images of oneself” (Woodward, 1991, 69) (i.e. the one looking in the mirror and the one looking back).
- 14.
Scholarship on performance and disability is more prominent today than it was ten to fifteen years ago. Established scholars in the terrain include Carrie Sandahl (2003, 2004, 2010) and Petra Kuppers (2003, 2011), with recent work emerging from Collette Conroy (2009), Dave Calvert (2009), Arseli Dokumaci (2013, 2017), Yvonne Schmidt (2017), and Kate Maguire-Rosier (2016), among others. Some key issues of concern emerging from the scholarship include representing disability in novel ways to challenge current orthodoxies; the uneasy relationship between disability, disability politics, and the dramatic arts; the integration and inclusion of disabled people in drama and issues to do with the subversion of assumptions about disability in drama pieces; the role of non-disabled allies and professionals; the ‘performativity’ of disability; and the concept of ‘crip’ aesthetics and alternative dramaturgies as a challenge to able-bodied aesthetics and elite drama (Roulstone 2010, 753).
- 15.
Some social gerontologists have recognised different stages of old age, determining categories like the “fit elderly” and the “frail elderly” (Woodhouse et al. 1988, 505 cited in Mangan 2013, 26–27). The picture is further complicated by definitions of what constitutes old age being determined by historical and cultural relativism (Mangan 2013, 23).
- 16.
Diana Taylor has described this difference as between that of probing performance as an object or ontology and deploying it as a method or epistemology (2003, 2–3).
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It takes a community. A relationship-centred approach to celebrating and supporting old age. 2014. Directed, shot and edited by C. Maunder. Australia: Fire Films. https://www.youtube.com/watch?v=IUJWFWXz-wY.
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Gibson, J. (2020). My Mother’s Story, My Story. In: Dementia, Narrative and Performance. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-46547-6_1
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