From trauma to drama: a polymorphous space for witnessing (to) the Rwandan genocide in theatre

Abstract

This study analyses the play, Rwanda 94, and demonstrates how it distinguishes itself from other literature dealing with the 1994 genocide. Rwanda 94 expresses a desire to bear witness to the genocide. This objective contrasts with the artistic, intellectual and political aims of other artistic projects, which often seek a swift catharsis. Rwanda 94’s structure and content suggest that the task of understanding must be preceded by an extended act of witnessing. The play creates a platform for this witnessing, facilitated by the theatre space and the relationship between the spectators and the actors. These dramatic elements differentiate Rwanda 94 from other creative attempts to represent the Rwandan genocide because the polymorphous nature of theatre allows for a better representation of the heterogeneous experiences of the event. The creation of Rwanda 94 by a diverse group results in a polyphonic project that addresses issues of authenticity, imposed identity and collaboration between francophone groups