The representation of sexual trauma, consent, and recovery in both contemporary and classical dramas has been an integral aspect of theatre since its inception. Throughout history, playwrights have used their works to explore these themes in different ways, often through the experiences of their characters. Playwrights like Edward Bond, Sarah Kane, Lillian Hellman, Tennessee Williams, and many others have tackled these issues in their plays.
The way they depict these issues differs greatly depending on the time period and cultural context. In this article, I will examine how playwrights from different eras have explored sexual trauma, consent, and recovery in their plays.
Contemporary plays that deal with sexual assault tend to focus on the aftermath of the event. These plays showcase the emotional and physical impact of the assault on the survivors, as well as how they navigate their journey towards healing.
Sarah Kane's '4.48 Psychosis' deals with a woman who is struggling to cope with her traumatic past. The play explores her struggles with mental illness, self-harm, and suicidal thoughts, which are all linked to her experience of sexual abuse as a child. The character's pain is palpable throughout the entire play, and it challenges audiences to empathize with her suffering. Similarly, Edward Bond's 'Restoration Comedy' deals with a man who is haunted by his past trauma and cannot move on from it. He refuses to engage in any form of intimacy or relationships because of his fear of being hurt again.
Classical dramas typically portray sexual assault as an act committed by villains or outsiders. Shakespeare's 'Titus Andronicus', for instance, depicts Titus taking revenge against Tamora, who has sexually violated his daughter Lavinia. This depiction reflects the societal belief at the time that rape was a crime committed by the enemy, not someone close to home. Lillian Hellman's 'The Little Foxes' also deals with this theme, but from a different perspective. In this play, the protagonist's husband is accused of raping his mistress, but he denies any wrongdoing. The play explores how society often blames the victim rather than the perpetrator, even if there is evidence to the contrary.
Playwrights have also explored issues related to consent through their works.
Tennessee Williams' 'A Streetcar Named Desire' features Blanche DuBois, who struggles with the loss of her virginity due to a rape when she was younger. Her struggle with consent is juxtaposed against Stanley Kowalski's aggressive approach towards women. Through this contrast, the audience can see the differences between healthy and unhealthy forms of consent. Similarly, Sarah Ruhl's 'In the Next Room (or the vibrator play)' examines the concept of consent in a humorous way, using vibrators as a metaphor for intimacy.
Playwrights have used their plays to explore sexual trauma, consent, and recovery in various ways throughout history. While some works focus on the aftermath of the event, others examine the wider social implications surrounding these issues. Whether it's a classic or contemporary drama, playwrights continue to use theatre as a platform to challenge societal norms and spark conversations about these important topics.
How do playwrights depict sexual trauma, consent, and recovery in contemporary and classical narratives?
While modern playwrights have explored various forms of sexual trauma through their works, they often focus on different themes than classical writers. Classical dramatists tend to emphasize the consequences of sexual assault as it relates to society's values and expectations for women, while contemporary writers explore the nuances and complexity of victimhood and healing.