Salma Zohdi


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.


English & Comparative Literature Department

Degree Name

MA in English & Comparative Literature

Graduation Date


Submission Date

May 2012

First Advisor

Dworkin, Ira

Second Advisor

Ghazoul, Ferial



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.


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Institutional Review Board (IRB) Approval

Not necessary for this item


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.