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Stagmantle’ s response is to recite a list of newspaper headlines, ‘British General Butchers Unarmed Mob! Children Massacred in Mother’ s Ar ms! , p. 20). Newspapers can, like the Living Newspaper model of Theatre Workshop or Unity , break through the untruths propagated by the hegemony. But newspapers can also endorse the decisions of the government. This becomes clear as Mr and Mrs A cut maps and photographs out of their newspaper in order to follow Michael’ s quest. , p. 40). The quest they propose is an attempt to silence the press and maintain the status quo in the colonised state.

It is similar, for example, to the journey of the two Annies in Brecht’s The Seven Deadly Sins of the Petty Bourgeoisie where they travel through the seven cities confronting each sin in turn. Interestingly , in 1958, Auden translated this play. As Alan searches for Francis he travels to Ostnia where it is Execution Day. The King and Queen are vain emblems of the hegemony , maintaining power through a combination of crass insensitivity (like Marie Antoinette, the Queen offers the condemned women cake … with champagne) and brutal suppression (Auden and Isher wood 1968, p.

Kokoschka’ s Murderer Hope of Womankind (1907), for example, is generally regarded as one of the first Expressionist plays. 9 It connects with visual art from the off and retains this approach throughout. A clear example would be the Man’ s initial entrance, which is obviously visually illustrative, a kinetic tableau (Ritchie and Garten 1968, p. 25). While Kokoschka actively resisted the compartmentalising and classifying of his work (Keegan 1999, p. 40), this commitment to graphic, at times shocking, imager y clearly places him tentatively within notions of Expressionism.

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