Attempts on Her Attempts on Her LifeLife

EN302: European TheatreEN302: European Theatre

Post-structuralismPost-structuralism

Whereas the Structuralist understanding of the Whereas the Structuralist understanding of the relationship between signifier and signified is relationship between signifier and signified is something like this:something like this:

““COFFEE”COFFEE”

Signifier

Signified

Points toPoints to

Post-structuralismPost-structuralism

……the Post-structuralist understanding is more the Post-structuralist understanding is more like this:like this:

““COFFEE”COFFEE”

Signifier

Other signifiers

Points toPoints to Other

signifiers

Other signifiers

Other signifiers

Other signifiers

Other signifiers

Other signifiers

Other signifiers

Other signifiers

Other signifiers

Other signifiers

Other signifiers

Other signifiers

Other signifiers

Other signifiers

Other signifiers

Other signifiers

Other signifiers

Other signifiers

Other signifiers

Other signifiers

Other signifiers

Other signifiers

Other signifiers

Other signifiers

Other signifiers

Other signifiers

Jacques Derrida called Jacques Derrida called this the “supplementary” nature of this the “supplementary” nature of language: each sign depends for its language: each sign depends for its existence on its place in a system existence on its place in a system of other signs; each sign therefore of other signs; each sign therefore

bears traces of all the other bears traces of all the other signs within that system.signs within that system.

Post-structuralismPost-structuralism

Derrida, Derrida, Of GrammatologyOf Grammatology, 1967:, 1967: ““From the moment that there is From the moment that there is

meaning there are nothing but signs. meaning there are nothing but signs. We think only in signs.”We think only in signs.”

““There is nothing outside the text.”There is nothing outside the text.” (Of course, Derrida did not write this at (Of course, Derrida did not write this at

all: he wrote “Il n’y a pas de hors-all: he wrote “Il n’y a pas de hors-texte.”)texte.”)

Readerly and writerly Readerly and writerly textstexts

Roland Barthes argued that if cultural signs Roland Barthes argued that if cultural signs are are alwaysalways ideologically ‘contaminated’, then ideologically ‘contaminated’, then the most interesting and radical cultural texts the most interesting and radical cultural texts are likely to draw attention to their own sign-are likely to draw attention to their own sign-systems, rather than take them for granted.systems, rather than take them for granted.

Barthes’s favourite texts are more interested Barthes’s favourite texts are more interested in in signifierssignifiers than than signifiedssignifieds:: A ‘readerly’ text is ‘like a cupboard where A ‘readerly’ text is ‘like a cupboard where

meanings are shelved, stacked, safeguarded’ meanings are shelved, stacked, safeguarded’ (1974: 200-1);(1974: 200-1);

A ‘writerly’ text will encourage its reader to A ‘writerly’ text will encourage its reader to become an active participant in the creation of its become an active participant in the creation of its meaning – ‘no longer a consumer, but a producer meaning – ‘no longer a consumer, but a producer of the text’ (1974: 4).of the text’ (1974: 4).

Crimp’s mistrust of Crimp’s mistrust of narrativenarrative

““Whatever I say to you,” he tells me, nervously Whatever I say to you,” he tells me, nervously trawling his fingers through his hair, “you will go trawling his fingers through his hair, “you will go away and make a shape from it. That shape will be away and make a shape from it. That shape will be definitive in the way that the relationship between definitive in the way that the relationship between you and I can never be. […] You will undertake a you and I can never be. […] You will undertake a shaping process … in which I as a person will be shaping process … in which I as a person will be misrepresented. It’s inevitable.” (O’Mahony 1993)misrepresented. It’s inevitable.” (O’Mahony 1993)

Crimp described his earlier play Crimp described his earlier play The The TreatmentTreatment as being about ‘what art has to do as being about ‘what art has to do to life to make a shape out of it’ (Clapp 1997).to life to make a shape out of it’ (Clapp 1997).

‘‘Attempts on Her LifeAttempts on Her Life’: Suicide? ’: Suicide? Assassination? Narration?Assassination? Narration?

Narrative in Narrative in Attempts on Attempts on Her LifeHer Life

Unseen forces in Unseen forces in Attempts on Her LifeAttempts on Her Life?? David Edgar: David Edgar:

‘‘Crimp’s purpose is not only to question Crimp’s purpose is not only to question whether we can truly know another human whether we can truly know another human being, but whether we can regard other being, but whether we can regard other people as existing at all independent of the people as existing at all independent of the models we construct of them. And he does models we construct of them. And he does this not by a bald statement, but by playing this not by a bald statement, but by playing an elaborate and sophisticated game with an elaborate and sophisticated game with the audience’s expectations of how scenes the audience’s expectations of how scenes connect within a narrative.’ (1999: 31)connect within a narrative.’ (1999: 31)

Narrative in Narrative in Attempts on Attempts on Her LifeHer Life

Crimp shows narratives in the process of Crimp shows narratives in the process of being constructed (often collaboratively):being constructed (often collaboratively): The second answerphone message shows a The second answerphone message shows a

fictional narrative being invented (we later hear fictional narrative being invented (we later hear the full narrative in scenario 3, and perhaps its the full narrative in scenario 3, and perhaps its continuation in scenario 12)continuation in scenario 12)

Scenarios 2 and 3 depict what sound like film Scenarios 2 and 3 depict what sound like film executives inventing narratives; scenario 6 executives inventing narratives; scenario 6 (‘Mum and Dad’) uses similar language(‘Mum and Dad’) uses similar language

Scenario 15, ‘The Statement’, explores anxieties Scenario 15, ‘The Statement’, explores anxieties over legal narratives: ‘Well, don’t you consider it over legal narratives: ‘Well, don’t you consider it accurate?’ (p. 268)accurate?’ (p. 268)

Narrative in Narrative in Attempts on Attempts on Her LifeHer Life

Often, the play’s narratives unravel and Often, the play’s narratives unravel and deconstruct themselves:deconstruct themselves: Anne’s lover treats her face like both a ‘precious Anne’s lover treats her face like both a ‘precious

chalice’ and a ‘rugby football’ (p. 213)chalice’ and a ‘rugby football’ (p. 213) After an in-depth description of her ashtray, a After an in-depth description of her ashtray, a

narrator adds the following information almost as an narrator adds the following information almost as an afterthought:afterthought:

‘…‘…she speaks five languages and with the aid of the new she speaks five languages and with the aid of the new CERN accelerator in Geneva she has discovered a new CERN accelerator in Geneva she has discovered a new elementary particle which will bear her name and elementary particle which will bear her name and completely change the way we look at the universe.’ (p. 240)completely change the way we look at the universe.’ (p. 240)

Scenario 13 narrates Annie as a conduit for an alien Scenario 13 narrates Annie as a conduit for an alien invasion. invasion.

Narrative in Narrative in Attempts on Attempts on Her LifeHer Life

Scenario 10, ‘Kinda Funny’ is a monologue.Scenario 10, ‘Kinda Funny’ is a monologue. It is the most conventional narrative in the play It is the most conventional narrative in the play

for this reason, but it deconstructs itself through for this reason, but it deconstructs itself through its internal incongruity: after constructing a its internal incongruity: after constructing a narrative of optimistic self-determination (the narrative of optimistic self-determination (the American dream?) it reveals Annie as a fascist.American dream?) it reveals Annie as a fascist.

Scenario 12, ‘Strangely!’, continues scenario Scenario 12, ‘Strangely!’, continues scenario 3.3. It is a much more overtly deconstructed It is a much more overtly deconstructed

narrative, using strategies similar to Churchill.narrative, using strategies similar to Churchill.

Anne’s inconsistencyAnne’s inconsistency

Her nameHer name Her ageHer age ‘…‘…all the things that Anne can be’ (p. 223) all the things that Anne can be’ (p. 223) ‘‘She’s a pornographic movie star / A killer She’s a pornographic movie star / A killer

and a brand of car’ (p. 263)and a brand of car’ (p. 263) Scenario 9, ‘The Threat of International Scenario 9, ‘The Threat of International

Terrorism™’, gives us a refrain:Terrorism™’, gives us a refrain: ‘‘Is this really the same little Anne…?’Is this really the same little Anne…?’ Once again, Anne becomes ludicrously Once again, Anne becomes ludicrously

inconsistent (p. 244).inconsistent (p. 244).

‘‘Tragedy’ in Tragedy’ in Attempts on Attempts on Her LifeHer Life

Scenario 2 is titled ‘Tragedy of Love and Ideology’:Scenario 2 is titled ‘Tragedy of Love and Ideology’: The word ‘naturally’ recurs throughout (compare Brecht)The word ‘naturally’ recurs throughout (compare Brecht) The young woman’s lack of control is fetishised by the writers The young woman’s lack of control is fetishised by the writers

of the imagined screenplay.of the imagined screenplay. Scenario 3, ‘Faith in Ourselves’, narrates a woman Scenario 3, ‘Faith in Ourselves’, narrates a woman

who ‘breaks down and scratches her cheeks like who ‘breaks down and scratches her cheeks like something from an ancient tragedy’ (p. 218):something from an ancient tragedy’ (p. 218): This description is then disputed by another co-narrator, who This description is then disputed by another co-narrator, who

wants something much less classical (but no less artificial).wants something much less classical (but no less artificial). ‘‘So it’s a universal thing So it’s a universal thing obviouslyobviously.’ (p. 219).’ (p. 219) According to one speaker, this horrific story ‘strangely According to one speaker, this horrific story ‘strangely

restores – I think it does – yes – our faith in ourselves.’ (p. 220)restores – I think it does – yes – our faith in ourselves.’ (p. 220)

‘‘Tragedy’ in Tragedy’ in Attempts on Attempts on Her LifeHer Life

Luckhurst compares scenario 16 (‘Pornó’) with Luckhurst compares scenario 16 (‘Pornó’) with Ibsen, esepcially in relation to Crimp’s use of Ibsen, esepcially in relation to Crimp’s use of ‘‘passionate gypsy violin musicpassionate gypsy violin music’ (p. 274):’ (p. 274): ‘‘The music acts as an ironic counterpoint to the horror The music acts as an ironic counterpoint to the horror

that ‘Anne’ must suppress and to her apparent breakdown, that ‘Anne’ must suppress and to her apparent breakdown, the voices of the oppressors uniting to drown her out with the voices of the oppressors uniting to drown her out with a repellently euphoric construction of her as a woman with a repellently euphoric construction of her as a woman with all-powerful, divinely redemptive qualities…. Crimp may all-powerful, divinely redemptive qualities…. Crimp may be borrowing from Ibsen’s use of musical irony in Nora’s be borrowing from Ibsen’s use of musical irony in Nora’s tarantella scene and Hedda’s wild piano playing moments tarantella scene and Hedda’s wild piano playing moments before her suicide, but whereas Ibsen’s musical notation before her suicide, but whereas Ibsen’s musical notation indicates a space for rebellion and sexual liberation, indicates a space for rebellion and sexual liberation, (though occupied in desperation and strictly regulated) (though occupied in desperation and strictly regulated) ‘Anne’ is not permitted even a brief transgressive moment. ‘Anne’ is not permitted even a brief transgressive moment. Unlike Nora and Hedda ‘Anne’ is not allowed agency.’ Unlike Nora and Hedda ‘Anne’ is not allowed agency.’ (2003: 59)(2003: 59)

Meta-critique?Meta-critique?

What is the play’s attitude towards ‘truth’?What is the play’s attitude towards ‘truth’? Scenario 11, ‘Untitled (100 Words)’, is often Scenario 11, ‘Untitled (100 Words)’, is often

misinterpreted as Crimp’s explanation of how misinterpreted as Crimp’s explanation of how to read his play:to read his play: ‘‘With respect to you I think she’d find the whole With respect to you I think she’d find the whole

concept of ‘making a point’ ludicrously outmoded. concept of ‘making a point’ ludicrously outmoded. If If anyany point is being made at all it’s point is being made at all it’s surelysurely the point the point that the point that’s being made is that the point that’s being made is notnot the point the point and never has in fact and never has in fact beenbeen the point. It’s surely the the point. It’s surely the point that the search for a point is pointless and point that the search for a point is pointless and that the whole point of the exercise – i.e. these that the whole point of the exercise – i.e. these attempts on her own life – attempts on her own life – pointspoints to that.’ (p. 250-1) to that.’ (p. 250-1)

Meta-critique?Meta-critique? The scenario is, surely, a parody:The scenario is, surely, a parody:

The words used to describe the ‘landmark work’ The words used to describe the ‘landmark work’ are empty clichés: ‘It’s moving. It’s timely. It’s are empty clichés: ‘It’s moving. It’s timely. It’s distressing. It’s funny. It’s sick. It’s sexy. It’s distressing. It’s funny. It’s sick. It’s sexy. It’s deeply serious. It’s entertaining. It’s illuminating. deeply serious. It’s entertaining. It’s illuminating. It’s dark. It’s highly personal and at the same time It’s dark. It’s highly personal and at the same time raises vital questions about the world we’re living raises vital questions about the world we’re living in.’ (p. 250)in.’ (p. 250)

When one of the critics asserts that ‘what we see When one of the critics asserts that ‘what we see here is the work of a girl who quite clearly here is the work of a girl who quite clearly should’ve been admitted not to an art school but should’ve been admitted not to an art school but to a psychiatric unit’ (p. 251-2), Crimp is alluding to a psychiatric unit’ (p. 251-2), Crimp is alluding fairly directly to Charles Spencer’s review of fairly directly to Charles Spencer’s review of Sarah Kane’s Sarah Kane’s Phaedra’s LovePhaedra’s Love: ‘It’s not a theatre : ‘It’s not a theatre critic that’s required here, it’s a psychiatrist.’ critic that’s required here, it’s a psychiatrist.’ ((Daily TelegraphDaily Telegraph, 21 May 1996)., 21 May 1996).

Meta-critique?Meta-critique? Are we meant to agree on the critic’s Are we meant to agree on the critic’s

definition of our own context?definition of our own context? ‘… ‘… the context of a the context of a postpost-radical, of a post--radical, of a post-humanhuman

world where the gestures of radicalism take on world where the gestures of radicalism take on new meaning in a society where the radical new meaning in a society where the radical gesture is simply one more form of entertainment gesture is simply one more form of entertainment i.e. one more product – in this case an artwork – to i.e. one more product – in this case an artwork – to be consumed.’ (p. 256)be consumed.’ (p. 256)

Paul Taylor seemed to think so, asking: ‘Is it, for all Paul Taylor seemed to think so, asking: ‘Is it, for all its extraordinary flights of eloquent writing, a play its extraordinary flights of eloquent writing, a play that is just cleverly knowing and darkly comic that is just cleverly knowing and darkly comic about its own ingenious futility?’ (about its own ingenious futility?’ (IndependentIndependent, 14 , 14 March 1997) March 1997)

Compare Beckett?Compare Beckett?

Meta-critique?Meta-critique?

Crimp, argues Heiner Zimmermann, is Crimp, argues Heiner Zimmermann, is ‘aware of the fact that he is part of the ‘aware of the fact that he is part of the culture he satirises’: culture he satirises’: ‘‘His critique does not arrogate a stance of His critique does not arrogate a stance of

moral superiority or superior insight. … In moral superiority or superior insight. … In short, it exposes the perversion of current short, it exposes the perversion of current discourses while openly admitting that it discourses while openly admitting that it has no alternatives to offer.’ (2003: 84)has no alternatives to offer.’ (2003: 84)

Crimp has indeed described himself as Crimp has indeed described himself as ‘anti-ideological’ (Clapp 1997).‘anti-ideological’ (Clapp 1997).

Meta-critique?Meta-critique?

Crimp’s prose piece ‘Four Unwelcome Crimp’s prose piece ‘Four Unwelcome Thoughts’ suggests something a little Thoughts’ suggests something a little more complex: more complex: ‘‘The writer… begins to make a mental list The writer… begins to make a mental list

of what is now impossible: the painted of what is now impossible: the painted portrait (obviously), the well-made play portrait (obviously), the well-made play (hilarious), the radical (oh really?) gesture, (hilarious), the radical (oh really?) gesture, political engagement (ha ha ha!). The more political engagement (ha ha ha!). The more examples of impossibility and failure he examples of impossibility and failure he comes up with, the happier he is.’ (2005: x)comes up with, the happier he is.’ (2005: x)

ReferencesReferences Barthes, R. (1974) Barthes, R. (1974) S/Z: An EssayS/Z: An Essay, trans. Richard Miller, New , trans. Richard Miller, New

York: Hill & Wang.York: Hill & Wang. Baudrillard, Jean (1992) ‘Simulations’, trans. Paul Beitchman, in Baudrillard, Jean (1992) ‘Simulations’, trans. Paul Beitchman, in

Patricia Waugh, Patricia Waugh, PostmodernismPostmodernism, London: Edward Arnold., London: Edward Arnold. Clapp, Susannah (1997) ‘No plot, no characters, no rules: Martin Clapp, Susannah (1997) ‘No plot, no characters, no rules: Martin

Crimp takes the play apart’, Crimp takes the play apart’, New StatesmanNew Statesman, 21 March., 21 March. Crimp, Martin (2005) Crimp, Martin (2005) Plays 2Plays 2, London: Faber & Faber., London: Faber & Faber. Edgar, David (1999) Edgar, David (1999) State of Play: Playwrights on PlaywritingState of Play: Playwrights on Playwriting, ,

London: Faber & Faber.London: Faber & Faber. Lehmann, Hans-Thies (2006) Lehmann, Hans-Thies (2006) Postdramatic TheatrePostdramatic Theatre, Abingdon: , Abingdon:

Routledge.Routledge. Luckhurst, Mary (2003) ‘Political Point-Scoring: Martin Crimp’s Luckhurst, Mary (2003) ‘Political Point-Scoring: Martin Crimp’s

Attempts on her LifeAttempts on her Life’, ’, Contemporary Theatre ReviewContemporary Theatre Review, 13:1, 47-, 13:1, 47-60.60.

O’Mahony, John (1993) ‘Writers’ Crimp’, O’Mahony, John (1993) ‘Writers’ Crimp’, GuardianGuardian, 20 April., 20 April. Sierz, Aleks (2006) Sierz, Aleks (2006) The Theatre of Martin CrimpThe Theatre of Martin Crimp, London: A & C , London: A & C

Black. Black. Zimmermann, Heiner (2003) ‘Images of Woman in Martin Zimmermann, Heiner (2003) ‘Images of Woman in Martin

Crimp’s Crimp’s Attempts On Her LifeAttempts On Her Life’, ’, European Journal of English European Journal of English StudiesStudies, 7:1, 69-85., 7:1, 69-85.