Essayistic Ventures in the Wake of Diasporas1

Abstract

‘Essayistic Ventures in the Wake of Diasporas’ contributes to Contemporary Theatre Review’s ‘Hear Tell: Describing, Reporting, Narrating’ issue by examining performances through the essay form. The objectives of this article are twofold: to propose a nuanced vocabulary drawing from literary and film studies for describing these performances and to re-evaluate the essay form’s relation to documentary theatre. Focusing on artists such as Jaha Koo, Ogutu Muraya, Samah Hijawi, and Sachli Gholamalizad, the analysis identifies shared attributes in their solo performances, including a first-person perspective, a hybrid form, and a concentration on personal diasporic experiences intertwined with reflections on broader subjects. Utilizing the essay form as an analytical lens, the study explores how these performances contribute to a nuanced reflection on the complexities of diasporic lives. Tracing the evolution of the essay form, ‘Essayistic Ventures in the Wake of Diasporas’ positions the essayistic lens within performing arts, drawing on the revival of scholarly interest in the literary essay and the emergence of the essay film. The essayistic structure is dissected through case studies of Koo and Gholamalizad, revealing their adept navigation through subjective reflections, historical narratives, and societal critiques. The examination highlights the active role of the audience in this essayistic endeavour, emphasizing reflexivity as integral to the thought process. In conclusion, this article underscores the essayistic potential of diasporic performances, shedding light on nuanced engagements with history, memory, and self-reflection, while emphasizing the audience’s active participation in the essayistic endeavour.