The New Wave of British Women Playwrights by Elisabeth Angel-Perez Aloysia Rousseau

Author:Elisabeth Angel-Perez, Aloysia Rousseau
Language: eng
Format: epub
Publisher: De Gruyter
Published: 2023-01-30T09:40:55.883000+00:00

Younger Sister – So what happened to the womanist

bitches

…the feminist bitches?

…The professional bitches.

What happened to them?

What about the burn their bra bitches?

The black bitches

the rootsical bitches

the white the brown bitches

the right-on bitches

what about them? (61 – 63).

The defamiliarising effect of having white actors vocalize black voices makes vocal dis-essentialism blatant. More surreptitiously, vocal circulation – although not deconstructing the black and white binarity – is also found in random. In this play, the Brechtian alienation effect (Verfremdungseffekt) is redirected towards empathy and responsibility (Aston 195). In random, just as the voice of a single actress inhabits several bodily and psychic realities, the same voice carries several topological and identity referents. The paradox of this diction consists in stylising and emblematizing only to make things more realistic; it introduces defamiliarization and disrupts illusion only in order to paradoxically identify as closely as possible the realistic accents of the spoken word. The stage thus becomes a place for sharing, the very place where the encounter with the Other takes place: an ethical stage, in the Levinasian sense. This scene makes the face of the Other appear, not by showing it – since debbie tucker green does not show the characters nor their faces and Levinas claims that the best way to “see the face of the Other consists in not even noticing the colour of their eyes” (Levinas 1984, 79, my translation) – but by delivering it, in all its “nakedness”, through a mediated and circulating word.

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