An Investigating The Violation Of Human Rights In Zimbabwe And Palestine: The Case Of The Plays ‘There Is A Field’ And ‘Super Patriots And Morons’

TABLE OF CONTENTS

I.DECLARATION

II.DEDICATION

III.ACKNOWLEDGEMENT

IV.SUMMARY

CHAPTER 1

1. Introduction…………………………………………………………………………………… 1

1.2 Background of the study…………………………………………………………………….. 2

1.3 Statement of the problem……………………………………………………………………...4

1.4 Objective of the study…………………………………………………………………………5

1.5 Research Questions……………………………………………………………………………5

1.6 Justification/significance of the study…………………………………………………………6

1.7 Theoretical framework

1.7.1 cultivation theory……………………………………………………………………………6

1.7.2 audience reception theory……………………………………………………………...........7

1.7.3 marxist theory……………………………………………………………………………….8

1.8 Research methodology

1.8.1 interviews……………………………………………………………………………………8

1.8.2 questionnaires…………………………………………………………………………….....9

1.8.3 recorded post-play discussion……………………………………………………................9

1.8.4 secondary sources of data………………………………………………………………….10

1.8.5 ethical considerations………………………………………………………………………10

1.9 Chapter summary………………………………………………………………………….....10

CHAPTER 2: LITERATURE REVIEW

2.0 Introduction…………………………………………………………………………………11

2.1 Comparison of Zimbabwe and Palestine in the face of human rights abuse………………...11

2.2 Non-violent performance in a hostile environment……………………………………….....15

2.3 Rustom Bharucha on non-violence………………………………………………………….16

2.4 Seeds of Peace: use of dramatic performance for human rights advocacy…………………17

2.5 Symbiotic embededness of theatre and conflict……………………………………………19

2.6 Chapter summary…………………………………………………………………………...21

CHAPTER 3

3.0 Introduction…………………………………………………………………………………21

3.1 Critical appreciation of selected plays

3.1 Super Patriots and Morons (2003)…………………………………………………………..22

3.2 There is a Field (2010)……………………………………………………………………....23

3.3.0 Themes

3.3.1 Inequality…………………………………………………………………………………25

3.3.2 Redressing gender imbalance……………………………………………………………,,27

3.3.3Politicization of the intelligence and police……………………………………………….31

3.3.4 Torture…………………………………………………………………………………… 33

3.4 Theoretical application on the selected plays

3.4.1 Cultivation theory…………………………………………………………………………34

3.4.2 Audience reception theory………………………………………………………………...35

3.4.3 Marxist theory……………………………………………………………………….........36

3.5 Artistic structures of the plays

3.5.1Open-endedness…………………………………………………………………..………37

3.5.2 Symbolism……………………………………………………………………………….37

3.5.3 Allusion to historic icons…………………………………………………………………41

3.6 An effective theatrical approach in ending human rights violation…………….............… 42

3.7 Research findings …………………………………………………………………….…....43

3.7.1 interviews…………………………………………………………………….………….43

3.7.2 questionnaire…………………………………………………………………………….46

3.7.3 recorded post-play discussions………………………………………………………….47

3.8 Chapter summary……………………………………………………..…………………….48

CHAPTER 4

4.1 Conclusion and recommendation…………………………………………………….……49

4.2 Limitations…………………………………………………………………………………51

4.3 recommendations…………………………………………………………………………..52

4.4Questionaire and Bibliography…………………………………………………….........54-56