By Edward Albee
Certainly one of Edward Albee's such a lot celebrated works, A tender Balance premiered on Broadway in 1966 and gained the Pulitzer Prize for Drama in 1967, the 1st of 3 he has bought for his paintings. The play revolves round prosperous middle-aged couple Agnes and Tobias, who've their complacency shattered whilst their longtime buddies Harry and Edna look at their doorstep. Claiming an encroaching, anonymous "fear" has compelled them from their very own domestic, those buddies carry a firestorm of doubt, recrimination and finally solace, frightening the "delicate balance" of Agnes and Tobias's household.
In fresh years, A gentle Balance has loved many and new attractive revivals, operating now, together with a Broadway creation in 1996, which received the Tony Award for top Revival, and one other on the Alameida Theatre in London in 2011.
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This is what makes it possible to exercise power over the refugee without the need for the speaker’s presence. : 16). In France illegal immigrants are often referred, to as sans papiers, literally ‘those without papers’ and in the US illegal immigrants are designated as ‘undocumented aliens’. This is a good example of the ‘literacy of bureaucracy’ (Conquergood, 2002: 147) and points to the irony that, although refugees are bombarded with some papers, those papers that matter, passports or letters offering refuge, are withheld.
Bureaucratic performance then pictures the asylum seeker as the ‘man from the country’ who ‘sits before the door of the law’ awaiting judgment on their claims for asylum: it also demonstrates how refugees have no option but to ‘sit and wait’. However, in this action, they are ineluctably placing authority with those on the other side of the closed door of the law and, by extension, of the entire judicial and political structure that would grant them their request for safety and asylum. Not only are they conjuring the law as they sit and wait, they are conjuring themselves, or bringing themselves into being as refugees.
They also ignore the desire for refugees to represent themselves in certain ways that do not conform to the legal or cultural expectations placed upon them. However, despite the inadequacy of legal definitions to adequately reflect complex human experience, they strongly condition that experience and the many ways in which that experience is reflected on and expressed. My argument is that most, if not all, contemporary refugee theatre and performance is conditioned by this situation. Who is ‘a refugee’?