![]() Ryan argues that the play stimulates reform and elicits sympathy by substituting a false rhetoric of universal vulnerability for a more accurate assessment of imprisonment and judicial murder. As a celebrated example of political theater, The Exonerated also provides a forum for thinking through the contemporary terms and framework of conversations about state killing. The play's composition, performance, and reception reveal the challenges of creating art that is aimed at social reform and confirm the difficulty in assessing the political function or, in Fredric Jameson's sense, the political unconscious of American literature. Ryan's essay analyzes the coordination of the innocence argument and sentimentality in Jessica Blank and Erik Jensen's The Exonerated (2003), a documentary play based on interviews with people sentenced to die for crimes they did not commit. ![]() State Killing, the Stage of Innocence, and The Exonerated State Killing, the Stage of Innocence, and The Exonerated ![]()
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