"Inbetweeners" : dialogic strategies and practices for writing Arab migration through intercultural theatre : a dissertation presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Creative Writing at Massey University, Wellington, New Zealand
| dc.citation.issue | 360403 Drama, theatre and performance studies | en |
| dc.confidential | Embargo : No | en_US |
| dc.contributor.advisor | Tilley, Elspeth | |
| dc.contributor.author | Al-Maani, Ammar Sultan Abdullah | |
| dc.date.accessioned | 2022-09-08T03:07:19Z | |
| dc.date.accessioned | 2022-11-29T01:03:57Z | |
| dc.date.available | 2022-09-08T03:07:19Z | |
| dc.date.available | 2022-11-29T01:03:57Z | |
| dc.date.issued | 2022 | |
| dc.description.abstract | This thesis deploys both critical and creative methodologies to address the research question ‘How can playwriting contribute to an understanding of intercultural experiences, identities, and differences between the Middle East and the West?’ When I began this research journey, as a Jordanian-born Muslim playwright now living in Aotearoa New Zealand, I wanted to write a ‘great Arab theatre’ to capture the potentials and positive outcomes of the immigration experiences of Middle Easterners and Muslims and their transnational movements, re-settlements, and inbetweenness, as well as acknowledge the suffering of a region that has been subjected to generations of colonial trauma and is little understood and deeply stereotyped by the West. I wanted to creatively investigate the ways in which migration, and now a global pandemic that has rewritten our understanding of borders, have both fractured and expanded my viewpoints on myself, my culture, and my birthplace. As I explored scholarly models of trauma, I discovered that they, too, have been characterised by colonial thinking and often deploy limited cultural stereotypes as metaphors to explain and address trauma. None of these models fit my experiences. There are uniquely Arab models of storytelling and performance but, looking at many of the key playwrights from the region showed a deep interweaving of Western playwriting traditions in their work as well. Again, these Western-influenced elements seemed to me in part useful yet ultimately inadequate containers to hold my experiences or grasp the wider backdrop of my region’s complex and contested histories. My goal became to find new, expanded, theatrical forms to initiate a dialogue between concepts of diasporic identity, trauma, conflict, and colonial history in the context of the Middle East and its relationships with its Others - including through the specific trajectory of my own journey and how my subjectivity has been shattered and reformed by multiple transnational relocations. I found it helpful to draw on scholarship about intercultural theatre, but I also developed new models of structure and characterisation that depart from and explicitly reject Western models in novel ways, to try to capture the uniqueness of ‘inbetweenness’ that is symptomatic of my region, myself, and my culture. Linear temporality, fixed characterisation, discrete scene plotting, causal action sequences, character hierarchies, and monolingual, unequivocally purposeful dialogue are all rejected in my playwriting, in favour of forms that I found, through the experiment of writing, better reflected the exploded and shapeshifting terms of identity and experience that I know to be true for myself and many others who have, like me, spanned their lives across continents, cultures, languages, religions, traditions, and histories, then ended up finding it difficult to know what is real. In my playwriting, I wanted to recreate that hybridity of both peaceful and contentious cross-cultural exchange and so I developed a kaleidoscopic metaphor to express a blend of different elements that change perpetually and move disorientingly, yet emerge anew, creatively and beautifully. Deploying my kaleidoscopic model of playwriting both thematically and structurally, I wrote a script that conveyed at least some partial sense of what it might mean to be ‘Arab’ in today’s world, and especially, what it might feel like to be ‘Arab’ in Aotearoa. The research was conducted, and the thesis is submitted, in the discipline of creative writing. It is the playwriting itself that constitutes the research experiment, along with the exegetic material that observes and analyses the act of creation including the aesthetic techniques, sources, and motivations. The thesis thus begins with four critical chapters that set out the background to and rationale for the creative work, then concludes with “Aragoze”, a trilogy of plays that embodies the aims of the research to contribute through both its form and its content to an understanding of intercultural experiences and identities situated in between the Middle East and the West. | en_US |
| dc.identifier.uri | http://hdl.handle.net/10179/17725 | |
| dc.publisher | Massey University | en_US |
| dc.rights | The Author | en_US |
| dc.subject | Arabs | en |
| dc.subject | Muslims | en |
| dc.subject | Migrations | en |
| dc.subject | Drama | en |
| dc.subject | New Zealand drama | en |
| dc.subject | Arab authors | en |
| dc.subject | 21st century | en |
| dc.subject | Intercultural communication in the performing arts | en |
| dc.title | "Inbetweeners" : dialogic strategies and practices for writing Arab migration through intercultural theatre : a dissertation presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Creative Writing at Massey University, Wellington, New Zealand | en_US |
| dc.type | Thesis | en_US |
| massey.contributor.author | Al-Maani, Ammar Sultan Abdullah | en_US |
| thesis.degree.discipline | Creative Writing - Playwriting | en_US |
| thesis.degree.grantor | Massey University | en_US |
| thesis.degree.level | Doctoral | en_US |
| thesis.degree.name | Doctor of Philosophy (PhD). | en_US |
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