Salma Zohdi

Abstract

This thesis comparatively analyzes the dynamics of oppression portrayed in Harold Pinter's One for the Road, and Salah Abdul-Saboor's Night Traveller, using Augusto Boal's Theatre of the Oppressed, Frantz Fanon's The Wretched of the Earth, and â Theater of the Absurdâ for the critical framework. With oppressive regimes regenerating themselves, and morphing into new types of practices, the power of art remains an essential motivation for the masses to resist those regimes. This applies particularly to theater, due its vitality. Whilst one may utilize a theatrical performance to entertain, others may utilize it to either inspire resistance, or chronicle and criticize a community's state. With works like One for the Road and Night Traveller that chronicle oppression through a theatrical political platform, oppressed audience members could be inspired to resort to resistance rather than to submission, and become empowered to be part of a positive change. My thesis argues that these two plays are necessarily oppressive, with an intense oppressor-oppressed dynamic, where the former exerts all available resources to silence the latter. However if both plays are performed to oppressed subjects in a â Theater of the Oppressedâ technique, they may function as an empowering tool of resistance.

Department

English & Comparative Literature Department

Degree Name

MA in English & Comparative Literature

Graduation Date

6-1-2012

Submission Date

May 2012

First Advisor

Dworkin, Ira

Second Advisor

Ghazoul, Ferial

Extent

NA

Document Type

Master's Thesis

Library of Congress Subject Heading 1

Pinter, Harold, 1930-2008. One for the road.

Library of Congress Subject Heading 2

ʻAbd al-Ṣabūr, Ṣalāḥ. Night traveller.

Rights

The author retains all rights with regard to copyright. The author certifies that written permission from the owner(s) of third-party copyrighted matter included in the thesis, dissertation, paper, or record of study has been obtained. The author further certifies that IRB approval has been obtained for this thesis, or that IRB approval is not necessary for this thesis. Insofar as this thesis, dissertation, paper, or record of study is an educational record as defined in the Family Educational Rights and Privacy Act (FERPA) (20 USC 1232g), the author has granted consent to disclosure of it to anyone who requests a copy.

Institutional Review Board (IRB) Approval

Not necessary for this item

Comments

First and foremost, to my adviser, Dr. Ira Dworkin, who has supported and motivated me throughout my thesis, while allowing me the space to develop my arguments and research with patience. I could not have hoped for a friendlier and more encouraging supervisor. To Dr. Ferial Ghazoul, Dr. William Melaney, and Dr. Vassilki Kotini for constantly pushing me forward to realizing my true potential for pursuing my passion in theater. I wouldn't have made it through without your guidance. To my family, who never refrained from accommodating my unconventiol study rituals, whilst constantly supporting and reassuring me at times of not giving up. To my work supervisor and colleagues, for patiently embracing my eccentric work decorum throughout this entire process. To my friends, who with patience and grace contained my irratiol and inconsistent behavior throughout the past few years, while constantly rooting for me, and giving me a pat on the back (you know who you are). Last but not least, I thank my parents for supporting me throughout all my past and future studies, and for providing a loving and nurturing home in which to complete all my nontraditiol projects. To everyone, I am forever grateful for your relentless guidance and support. Thank you for believing in me at times when I failed in doing so.

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