Mixed Media: The Hospital at the Time of the Revolution (2013)

The Mixed Media Column from the September 2013 issue of the Socialist Standard

The Hospital at the Time of the Revolution by Caryl Churchill

Earlier this year the Finborough Theatre in London staged the world première of Caryl Churchill's 1972 play The Hospital at the Time of the Revolution.

Churchill's play is partly based on the chapter, Colonial War and Mental Disorders in Frantz Fanon's study of the Algerian war of independence, The Wretched of the Earth, described by Sartre as 'the Third World finds itself and speaks to itself' '. Fanon's title is taken from the opening lyrics of The Internationale. Fanon was a Martinique-born psychiatrist, philosopher, self-styled Marxist, revolutionary and writer who was head of the Psychiatric Department at Blida-Joinville Hospital, Algiers in French Algeria. He resigned to work with the FLN, Algerian National Liberation Front in their guerrilla war for independence.

Churchill's play portrays Fanon treating the schizophrenic teenage daughter of a French civil servant (involved in 'interrogations' of Algerian rebels), and a French police inspector hearing screams in his head who has been beating his wife and children as a result of his 'work' torturing captured Algerian rebels. We also see three Algerian 'patients' in the hospital who are paranoid, delusional, suicidal, or catatonic as a result of the colonial war in Algeria. The bloody conflict for Algerian independence claimed the lives of 100,000 French soldiers and 'colons' and probably 1 million Algerians. The war is vividly brought to life in the 1966 Gillo Pontecorvo film The Battle of Algiers.

Churchill uses ideas from RD Laing's Sanity, Madness and the Family in her portrayal of the French couple and the schizophrenic daughter where a child is subject to the 'double bind' of contradictory commands that places a child in an existential checkmate of an 'untenable position' in the closed family nexus thereby causing madness.

Churchill wrote this year about the play; 'unfortunately it feels more relevant now than for a long time' which is true considering the American use of 'extraordinary rendition' of 'terror suspects' to countries that use torture, not forgetting the torture of 'terror suspects' by the USA at Guantanamo Bay, torture and abuse of Iraqis by the US military at Abu Ghraib prison and the British Army torture and abuse of Iraqis in Basra.

Churchill has explored issues of power since Owners, her critique of capitalism through to the sexual politics and colonialism of Cloud Nine to her 1987 attack on financial capitalism in Serious Money. From The Hospital at the Time of the Revolution to her 2009 Seven Jewish Children, a charity piece for the Palestinian people of Gaza, Churchill is evidently sympathetic to the struggles of oppressed peoples under colonialism.

Steve Clayton

A shining light (and a dim one) (1997)

Theatre Review from the April 1997 issue of the Socialist Standard

The Complete Works of William Shakespeare (abridged), The Reduced Shakespeare Company, Criterion Theatre.

A Light Shining in Buckinghamshire by Caryl Churchill, National Theatre.

Many local theatres can no longer afford to recruit a company of actors and keep them for a season or so. As a result repertory theatre is slowly dying. Visit your local theatre and you are more likely than not to see something played by a touring company: a group of actors performing the same show, week-by-week, across the length and breadth of the country. In the past month I have seen three such shows. Two of them may likely soon appear in your neck of the woods. One I think you might wish to avoid like the proverbial plague; the other will likely enthrall even if it doesn't delight.

The Reduced Shakespeare Company are currently appearing at the Criterion Theatre in London. But their show The Complete Works of William Shakespeare (abridged), is so successful that a second company is currently on tour. I caught their show in Bury St. Edmonds; it was an excruciating experience.

I like satire, irony and farce, but not when they are managed as unimaginatively and crudely as here. Shakespeare is ripe for entertaining comment and diverting song as was recently apparent in a charming little show "The Shakespeare Revue" which also toured widely. But The Complete Works is the "cor blimey" humour of the Sun directed savagely at one of the giants of literature. It is someone who can barely play the piano parodying Mozart; a drunken karaoke performer mimicking the Beatles. In the theatre, as in the rest of life, I am ever the optimist. I've thought about leaving before, but always stayed. Three weeks ago was a first: we walked out at half-time.

In contrast A Light Shining in Buckinghamshire, by Caryl Churchill, makes for an illuminating if, finally, a rather melancholy evening. Written in 1976 and currently revived by the National Theatre, and on tour, the play is about those early proto-socialists, the Levellers and the Diggers. The play's title celebrates a Digger pamphlet of the same name, which was circulating at the time of the English Civil War in the late 1640s.

Writing a forward to the text Caryl Churchill talks about the time after Charles I had been defeated when "anything seemed possible". And she goes on: "The play shows the excitement of people taking hold of their own lives, and their gradual betrayal as those who led them realised that freedom could not be had without (the ownership of) property being destroyed."

In nearly two dozen short scenes we are offered a series of cameos of life in England at the time of the Civil War. We see first a hypocritical clergyman patronising his servant; then two cynical JPs sentencing a woman accused of vagrancy to be stripped to the waist and beaten to the bounds of the parish; and then a man joining the army to fight "with Christ's saints for the commonwealth"; and so on. But at the heart of the play is the dramatic realisation of the Putney Debates of 1647, when Cromwell and his generals met representatives of the Levellers.

If this debate grips and excites as it examines ideas about democracy, freedom and the supposed rights of property, the rest of the evening droops somewhat in comparison. This is not entirely Ms Churchill's fault. She has faithfully represented both the fate of the Levellers and the emergence of the anarchic Ranters, and in doing so she seems true to the demands of historical accuracy.

But the imperatives of drama are not the same as those of history, and it is possible to see ways in which the structure of the play might have been altered to give proceedings a stronger narrative line, and to make the key ideas more accessible to a contemporary audience who, as Carly Churchill herself observes, are unlikely to have heard about the Diggers and the Levellers. Moreover, if the play had ended with that classic dramatic device of an epilogue, the struggles of the Levellers could have been given some kind of historical perspective, and we could then have seen evidence of the continuing struggle of the socialist movement for democracy, freedom and the end of private property ownership. But enough of the cavils. This is a play to see.

Michael Gill