One of the few good things that happened during this blogging sabbatical was reading a little of Emily Martin and Helene Cixous, and reading the play Angels in America. That means I was chock full of ideas to write about but didn’t get around to – which is a waste. Although I’m gonna start making up for it, starting with my thoughts on Angels.
A socially-conscious and politically charged drama, Tony Kushner's Angels in America is a play which was hailed as a turning-point in the history of American theater. Subtitled 'A Gay Fantasia on National Themes', the play has been mostly appropriated by gay rights activism in the US. Premiered on the night Bill Clinton was to be elected, the play came in the context of 'change' and 'hope' after the long silence over the 'gay' question during the Reagan/Bush years, and the frustration over the late response of the government to the havoc wreaked by the AIDS pandemic on America.
But the play, which attempts 'humanize' the gay identity by portraying it as quintessentially American, part of the great 'melting pot where nothing melted', is broader in its scope. The playwright is critical of "gays and lesbians in ACT UP who say ‘I hate straights’ " and "Jews who think that the only thing that matters is Israel and defence against anti-Semitism", holding that 'people who don’t recognise common cause are going to fail politically' [Tony Kushner in Conversation, Robert Vorlicky]. Subverting the discourse of identity politics that works on differentiation, the playwright is creating a politics of inclusion based on plurality and hybridization. This is the 'queer' spirit of the play, which seeks to dissolve boundaries, instead of just trangsressing them. The characters are not sharply defined 'radicals', but very mundane, undergoing transition, all in a 'web of interconnectedness' that highlights the commonality of the very human experience of exclusion and repression, and the 'painful process of change'.
'Interconnectedness' is achieved very well at both the thematic level and the structure of the play. There are characters like a hermaphroditic Angel, a gay Republican, and a Protestant character who has a mystical experience at once Jewish, Mormon and Christian in character. The characters echo each other in the common motifs of change and salvation, and are drawn together by the 'magic of the theatre' [as a character ironically remarks] in split-scenes and fantasy sequences. In this we see the play's adherence to 'functionalism', which dismisses naturalist theatre as 'escapist'. Ironical self-reference and absurdity in the script and the vaguely plausible fantastical scenarios it creates through dreams and hallucinations serve to underscore the play's aim of making the audience respond and rationalize.
What a character in the play refers to as "neo-Hegelian positivist sense of progress" is the dominant theme of Angels. In this, Angels is true to the themes of the icons of gay American culture 'Wizard of Oz' and 'A Streetcar Named Desire', works which are echoed in Angels. Thus Angels is ultimately reminiscent of the American pioneer ideals of discovery and individualism embodied in the heroines Oz and Desire, who venture into the unknown on journeys of self-discovery to find their place in the world. But because in the first scene it is asserted that 'there is no America - no such place exists', the quest for improvement is not just an enterprise of the past, or of the Americans. 'In you that journey exists', Kushner instructs in the first scene, waxing grandiloquent, providing a subtext to the rest of the play.
In all this we can see a cross between the German 'epic theater' and the Modern American Drama. Angels can be seen as a story about the ideals of the American family and 'the American dream' in an age of rapid change and wearing away of traditional institutions, and the ensuing identity crisis of the atomized individual of modernity. But far from just critiquing modernity, Kushner champions the Enlightenment ideal of progress, which is stated in the messages of 'Nothing is lost forever' and 'More life!' toward the end of Angels. Thus sentimentality, idealism, and grandiosity are all there, but only to create a powerful experience to engage the audience with the social critique the play is aiming at, and perhaps to inspire them to the progress it poignantly hopes for.
Kushner mocks the 'realism' of the neo-conservatives, summed up by Francis Fukuyama's words, "we cannot picture to ourselves a world that is essentially different from the present one, and at the same time better" in his 'The End of History'. A character, the fantastical 'World's Oldest Living Bolshevik', declares skeptically of those who proclaim the death of Marxism: "And what have you to offer now, children of this Theory [i.e.,Marxist-Leninism]? What have you to offer in its place? Market Incentives? American Cheeseburgers? Watered-down Bukharinite stopgap makeshift Capitalism!" But at the same time Angels in America cautions us against dogmatically holding on to ghosts from the past and codified totalizing theories. 'It's all too much to be encompassed by a single theory', Kushner admits through one of his characters, but adds emphatically, 'you can't live in the world without an idea of the world...you can't wait for a [single] theory, but you have to have a theory.'
In the afterword, Kushner writes more of how such theories could be arrived at:
"I have been blessed with remarkable friends, colleagues, comrades, collaborators: Together we organize the world for ourselves, or at least we organize our understanding of it; we reflect it, refract it, criticize it, grieve over its savagery; and we help each other to discern, amidst the gathering dark, paths of resistance, pockets of peace, and places from whence hope may be plausibly expected."
Kushner's idealism is thus a belief in a history driven forth by our ability to be critical and discerning of the 'savagery' of our times. He ends Angels with the declaration that 'you're all fabulous, each and every one of you', having shown through the entire work that a project of progress will only be guided by an inclusion of all subjectivities - a plurality of perspectives that will perhaps bring a new theory good enough for these times of confusion.
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