Documente Academic
Documente Profesional
Documente Cultură
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide
range of content in a trusted digital archive. We use information technology and tools to increase productivity and
facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
http://about.jstor.org/terms
Performing Arts Journal, Inc is collaborating with JSTOR to digitize, preserve and extend
access to Performing Arts Journal
This content downloaded from 128.104.46.196 on Tue, 24 Oct 2017 02:09:21 UTC
All use subject to http://about.jstor.org/terms
Postcard announcement of Tight Right White.
Photo: Courtesy of dar a luz.
This content downloaded from 128.104.46.196 on Tue, 24 Oct 2017 02:09:21 UTC
All use subject to http://about.jstor.org/terms
Body/Politic
The Ecstasies of Reza Abdoh
Gautam Dasgupta
m 19
This content downloaded from 128.104.46.196 on Tue, 24 Oct 2017 02:09:21 UTC
All use subject to http://about.jstor.org/terms
Reza Abdoh. Photo: Michael J. Vitte.
This content downloaded from 128.104.46.196 on Tue, 24 Oct 2017 02:09:21 UTC
All use subject to http://about.jstor.org/terms
cultural denigration, and the abuse of power. It afflicts not only social relations
among classes, races, genders, and diverse cultures, but, worst of all, denudes the
body and the self of vital sources of nourishment. Not that I wish to underplay the
social forces that activate Abdoh's dramatic instincts (the exploration of racism in
Tight Right White, the brutal examination of the psychic manifestation of violence
and the media in The Law of Remains), but what remains, for me at least, are the
haunting images of shattered bodies entombed in their own private nightmares, of
bodies in pain.
It comes as no surprise that early on in his career, when Abdoh was nineteen, he
directed King Lear, a tale as much about patriarchy and domination as it is about
Cordelia's silence, a voice muted for not echoing the call of acceptable norms of
social behavior. But whereas Lear's daughter had only the means of language to deny
language's hypocrisy to express her innermost convictions, the characters in Abdoh's
universe have access to a multiplicity of languages, mediated and unmediated-
private self and public persona, body and mind, gesture and voice, image and
narration, the vocabulary of "high" and "low" culture, text, context, and subtext. It
is the interweaving of these multiplicities, these shifting perspectives, that form the
foundation of Abdoh's dense theatrology, his scenic forays into the social and
political landscape of our times. If Babel this be, then it is so in the truest historical
sense of that tower in the land of Shinar constructed with the purpose of reaching
heaven.
DASGUPTA / Body/Politic * 21
This content downloaded from 128.104.46.196 on Tue, 24 Oct 2017 02:09:21 UTC
All use subject to http://about.jstor.org/terms
His personal history well equips him for this role as keeper of the gates. Born of
Iranian and Italian parents, having lived through the turmoil of the Shah's reign and
of the Ayatollah's messianic vengeance, he first finds a home in Los Angeles (he
immigrated to America at the age of nineteen, and now lives in New York), the land
of diverse cultures and of seismic shifts, where cracks appear on the face of the land,
reinscribing geographical fissures with as much regularity as each new wave of
immigrant groups and cultures rewrites the social and cultural landscape of
California. It is the uncongealed, invisible matter deep down in the bowels of the
earth that serve as apt metaphor for Abdohs theatre, generated as it is by forces that
are there, lying dormant or purposefully unrecognized, but forces that have the
power to shake up the body politic in sudden spasmodic eruptions.
While it is true that Abdohs exilic state has granted him new and varying insights
into the social problems that plague America, the multiplicity of perspectives that he
brings to his work encompasses more than just analyses of contemporary issues.
Questions of identity (at age fourteen, when such issues were paramount in his
thoughts, he directed Peer Gynt) and reflections on the nature of home and country
(Tight Right White), the environment (Minamata), familial relations (Father Was a
Peculiar Man), and power, his grand subject, with its attendant attributes of death,
destruction, and decay (The Hip-Hop Waltz of Eurydice, Bogeyman, The Law of
Remains), are forcefully and provocatively posed.
In all instances, personal displacements and struggles with identity, religious faith,
ethnicity, homeland, and sexuality are reflected upon from within and in contradis-
tinction to a broader social and ideological spectrum. A true rebel at heart, Abdoh
is not one to search after fixed identities, refusing to take comfort in their regressive
and reductive natures. In wishing to be born anew at each instant, and with each
work, he employs relentlessly shifting perspectives, bringing into play a voracious
appetite that engages multifarious themes, diverse cultures, social and personal
histories (of himself, of his actors, of even the spaces in which he chooses to
perform), past, present, and future, and, finally, the modus operandi of his unique
theatrical style, which ranges from vaudeville to lazzi to cabaret to borscht-belt to
Bombay film musicals to ta'ziyeh to puppetry to dance to technological media. If
ever there was a true multicultural artist at work in America today, accepting the
idea of the multicultural in its most expansive definition, then surely Abdoh is that
artist.
This content downloaded from 128.104.46.196 on Tue, 24 Oct 2017 02:09:21 UTC
All use subject to http://about.jstor.org/terms
- I -
/ .i
~:iI
::,, 5 -...
X
vX
Ids. I
:E i
f_ t f
7: I \
. t f f
. % a,
-*k-
T. X
fs 1 P~~~~~~~~~~~ I Y
.i
L\Vi.
t
_r , ,:
i`~~~~~*~
^v *~~~~~~~~~~~~'
A
DASGUPTA / Body/Politic * 23
This content downloaded from 128.104.46.196 on Tue, 24 Oct 2017 02:09:21 UTC
All use subject to http://about.jstor.org/terms
The Law of Remains. Photo: Paula Court.
This content downloaded from 128.104.46.196 on Tue, 24 Oct 2017 02:09:21 UTC
All use subject to http://about.jstor.org/terms
The title of his work "The Law of Remains" offers a clue in this regard. Fragments
are what remain when the rest of the body politic of a culture or a civilization has
been appropriated or consumed. They are the precipitate, the residue of all values
that fail to enter the mainstream, shards of history that lie deep buried in the past,
repressed memories that surface in collective dreams or nightmares. To plumb the
depths of this historical psyche is the task that Abdoh sets for himself in work after
work. Operationally, his process is not unlike that of an archeologist or a
paleontologist, shifting through layers of accumulated thought and debris to get at
something more structural, the root cause, if you will, of our current predicaments.
At the same time, he is also the psychoanalyst of history, rewriting myths of the past,
debunking contemporary myths and ready-made ideas, and in the process both
adumbrating a collective unconscious and creating new myths or models for the
future.
Unearthing these remains, whose laws are etched immutably in fragments from the
past, demands painstaking research into history, both of the world and of the place
the personal occupies in that world. It is to Abdoh's credit that he gives us both with
a vision and a scope unrivaled in the contemporary theatre, excepting the works of
director Robert Wilson and playwrights such as Heiner Miiller and Charles L. Mee,
Jr., artists who mine the past for historical and mythic sources with which to
illuminate the contemporary human condition. In his most recent work, Quotations
From a Ruined City, a Hobbesian nightmare, the Los Angeles riots are framed within
stories of the Pilgrims settling into their new land, of greed and abundantly vulgar
consumerism, of discipline (boot camp, Boy Scout, and concentration camp
variety), urban decay and crime, and death. In The Law ofRemains, Jeffrey Dahmer
and Andy Warhol and journeys of the dead and the dying are initiated by a lynching
staged under the plaintive sounds of a New England folksong, followed by urgent
scenes of autos-da-f6, book-burnings, black magic, and culminating in a football
field set in heaven (or hell) with steel-framed hospital beds substituting for
bleachers; in Tight Right White, the subject of race relations is explored within a
frame (one of many) of black exploitation films, minstrelsy, and plantation-house
lifestyles. Like his peers, Abdoh rummages through the detritus of the past, but
unlike those who view it as a treasure trove of playthings to be recalled as fancy or
fashion dictates, as neutral artifacts devoid of significance, Abdoh resurrects them
painfully to remind us of who we once were and who we could all once again
become.
The past, the dead, the remains must be retrieved and re-looked at if we are ever to
gain insights into the present. Laws governing the present lay hidden in the secrets
or the stilled voices and the remains of the buried. Death rules in the Abdoh
universe, its reigning spirit that ofThanatos. In his theatre we witness once again the
birth of tragedy, the ritual model of theatre answering the call of voices from the
beyond. He dreams Artaud's plague into existence, that feverish intensity of being
where mind and body, life and death merge in the service of art and of truth. If
Virgil and Dante are his guides in this epic quest (structurally, Abdoh's plays often
replicate the schematic patterns of The Divine Comedy), the path itself is that laid
DASGUPTA / Body/Politic * 25
This content downloaded from 128.104.46.196 on Tue, 24 Oct 2017 02:09:21 UTC
All use subject to http://about.jstor.org/terms
Tight Right White.
Photo: Paula Court.
This content downloaded from 128.104.46.196 on Tue, 24 Oct 2017 02:09:21 UTC
All use subject to http://about.jstor.org/terms
out in the Egyptian Book of the Dead. It is a search to make the fragments whole,
not to let bygones be bygones, to attempt to answer questions left unanswered. In
this sense, there is in Abdoh's artistry a deep-seated spiritual dimension, a desperate
need for resurrection, to act against the inertia, the passivity, the dying that he
witnesses all around him.
Abdohs is indeed a theatre of rage, a desire to seek out and manifestly display the
raw nerves-psychic and cultural-that pulse beneath the seemingly tranquil
surface of our culture. The anger, fueled by Nietzschean longings, vents its fury in
Dionysian impulses, where Thanatos and Eros embrace in ecstatic couplings and the
body becomes the pre-eminent sign of life and death. That this is undeniably so in
the age of AIDS lends added poignancy to Abdoh's theatrical universe. But there is
a larger frame at work here. Philosophically, the mind-body dualism, a legacy of the
Enlightenment, is firmly situated at the center of Abdoh's concerns. He questions
that dualism by juxtaposing it to non-Western philosophical and religious premises,
the latter couched subtly in the varied physicality and gesturality of his actors' modes
of presentation on stage. As with Artaud before him, Abdoh sees the place and
function of the body in other cultures (including sub-cultures) as offering not only
other models of being in the world, but as forced to embody in these bodies, these
private selves, those values-spiritual and cultural-subjugated by the powers of
society and the state. In the manner of ancient mystics and latter-day philosophers
and artists (St. Augustine, Rousseau, Sade, Rimbaud, Artaud, Bataille, and Pasolini
come to mind), Abdoh compels us to confront the body as the final repository of the
play of forces that define the scope, purpose, and well-being of society and of a culture.
DASGUPTA / Body/Politic * 27
This content downloaded from 128.104.46.196 on Tue, 24 Oct 2017 02:09:21 UTC
All use subject to http://about.jstor.org/terms