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In terms of competing notions of national identity, the new right was far more vigorous and successful throughout the 1970s. A sense of capitalist crisis was re-constructed through racist discourses, and class struggle and working-class consciousness were diluted with racism’s far-reaching capacity to link discourses of patriotism, imperialism, nationalism and Englishness. This sense of national crisis was captured most acutely in David Edgar’s 1976 play, Destiny, whose battle-line is race in the sense that it is seen as a more significant and dangerous divide in British society than class.
In contrast with the traditional agip-prop theatre, what makes Destiny a forceful play are the theatrical ways in which Edgar manoeuvres the audience’s intellectual and emotional responses. Edgar’s central aim, an exploration of the political mechanism which leads people to support a fascist movement, is achieved in two ways: a Brechtian detachment and a dramatic technique designed to encourage the audience’s emotional engagement with characters or dramatic events. Destiny’s key historical context is established by the way in which the narrative follows through the ideological journeys of four different characters: Chandler, Turner, Rolfe and Khera. From the imperial twilight in India, on the eve of independence in 1947, to a by-election in the West Midlands some 30 years later, their lives are literally interwoven in social and political terms. Edgar’s combination of the play’s documentary dimension and its fictional aspect of creating typical situations and representative characters, clearly contains Lukacsian social-realist overtones.
But more importantly, the audience’s vulnerability becomes Edgar’s most effective weapon to criticise the fascist sentiment as the audience realizes the danger of being drawn into the fascist sentiment from inside, not from outside via direct attack on monstrous fascist figures. The audience’s sympathy is controlled and checked by its own emotional confrontation and shock as well as by Edgar’s more polemical dramatic techniques. The contradictory, irrational political force of a fascist movement which constructs national consciousness as a genuine agent in history is intellectually investigated by the audience. The concept of the nation as an imaginary community is tested and subverted via the audience’s consistent self-revising process.
In contrast with the traditional agip-prop theatre, what makes Destiny a forceful play are the theatrical ways in which Edgar manoeuvres the audience’s intellectual and emotional responses. Edgar’s central aim, an exploration of the political mechanism which leads people to support a fascist movement, is achieved in two ways: a Brechtian detachment and a dramatic technique designed to encourage the audience’s emotional engagement with characters or dramatic events. Destiny’s key historical context is established by the way in which the narrative follows through the ideological journeys of four different characters: Chandler, Turner, Rolfe and Khera. From the imperial twilight in India, on the eve of independence in 1947, to a by-election in the West Midlands some 30 years later, their lives are literally interwoven in social and political terms. Edgar’s combination of the play’s documentary dimension and its fictional aspect of creating typical situations and representative characters, clearly contains Lukacsian social-realist overtones.
But more importantly, the audience’s vulnerability becomes Edgar’s most effective weapon to criticise the fascist sentiment as the audience realizes the danger of being drawn into the fascist sentiment from inside, not from outside via direct attack on monstrous fascist figures. The audience’s sympathy is controlled and checked by its own emotional confrontation and shock as well as by Edgar’s more polemical dramatic techniques. The contradictory, irrational political force of a fascist movement which constructs national consciousness as a genuine agent in history is intellectually investigated by the audience. The concept of the nation as an imaginary community is tested and subverted via the audience’s consistent self-revising process.
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