The expression of identity through street theatre : a postcolonial example

Abstract

This dissertation titled: "The Expression of Identity through Street Theatre: The Postcolonial Example", concentrates on the development of Maltese identity as a result of colonialism on two paradigms. The first refers to the discourse of how street theatre is a mirror of the effects of colonisation on culture and society. The second, how street theatre of a political and social nature helped shape Malta‘s fluid national identity. This is because, as the examples discussed in this dissertation demonstrate, street theatre in postcolonial Malta represents social movement and civil resistance. The historical implications of being colonised for so many hundreds of years, has shaped the way theatre is presented, used and how Maltese culture has been affected by such changes. Historical archives, interviews and readings from theorists such as Fanon, Spivak, Said, and Bhabha will inform the discussion of how the 'theatrical place‘ has surfaced in all realms of Maltese culture where religion and namely politics are the main driving forces of most theatrical performances. Three street theatre happenings will serve as a backdrop to this research as all three correlate to the Maltese preoccupation with religion and politics. These events are: the passion plays held yearly in Ħal Għargħur, the socio-political performances of a theatrical protest group notoriously known as 'Tan-Numri‘, active from 1984 to 1987, and the annual Carnival in Nadur, Gozo. Personally, my love for street theatre developed at an early age as both my parents have been very much involved in the Ħal Għargħur Passion Play since their childhood. I am also an active member of the Dwal Ġodda Theatre Group. I consider fellow members and contributors as my second family. My interest, as well as curiosity, in carnival was instilled by Prof Vicki Ann Cremona who was always keen to have undergraduates participate in field research. I cannot recall when my interest in 'Tan-Numri‘ came about, however, when members of 'Tan-Numri‘ reminisced about their youth and their active role as Maltese citizens, I felt envious that I did not get to witness all that and ended up feeling part of complacent society too comfortable or maybe too indifferent to take a stand. There were moments when description of events were over-romanticised or sounded heroic and although such recollections instilled a smile, they have not been included in this dissertation. I am grateful to all those who were willing to share their experiences, opinions and thoughts and to researchers who have published works about Malta‘s street theatre. These, have not only kindled further research but allowed me to appreciate local street theatre as a form of expression.