Reproduced in online version (free) of Siân Miles, ed., Simone Weil: An Anthology (Penguin), pp. 264-276.
Macon, GA: Mercer University Press (foreword by Vladimir Volkoff)
A linked listing of noted Weil scholars in the United States and elsewhere.
Abstract: Simone Weil’s dramatic criticism and dramatic writing offer a way of reconceptualizing what it means to engage critically under fascist censorship. This essay explores her closet drama Venise sauvée as an example of her embrace of writing political resistance in a time when classical theatre criticism was absent and artistic resistance had been made futile. Simone Weil called for an awakening in the audience to acknowledge their responsibility of how they let theatre shape their way of thinking about war. I demonstrate that Weilian theatre theory does not only consider the stage an object to be analyzed, but also the very subject through whose lenses one can undertake a critical reshaping of ways to interpret the world. In this dramatic view on WW II Weil exhibits the artistic voices of resistance in occupied France as caught in its own echo chambers and thus no longer perceptible in society. The essay reads her unfinished historical tragedy Venise sauvée and its central motif of the silenced voice of resistance as an implicit warning to the contemporary théâtre resistant to become the agent of its own irrelevance. I propose that beyond this warning there lies a theory of deconstructing propaganda theatre by unleashing the creative power of theatre’s failure, namely via a distortion of the socially synchronized inner and outer stage of the audience.
Platform, Vol. 13, No. 1, On Criticism, Autumn 2019, pp. 17-30