b'T3 Journal - Student Writing in Drama, University of Exeter 2020-21 Aoife Rushnomenological mutual dependency. As the body animatesis all, man. White (Small Island 2019). In this moment, the uses his body, mind, and voice as the actor to carry out acontext of this performance and its conjunction with the the text, which in turn tells the story, a symbiotic relation- interplay between actors body and the represented body oftask, dismantling the semantics used to construct culturalresurgence of the Black Lives Matter Movement, cultural ship evolves between body and mind supported by the ideaGilbert is accentuated by the corporeal identity (Graveridentity. His voice breaks, and pointing at Bernard he says,identity is presented as significantly impacted by experi-that the bodys unity is a lived integration in which the1997:228) of the actor as a black British man whose familyBut still, after all we suffer together, you wan tell me thatences of racism and oppression, the concept of nation and parts are understood in relation to the meaningful wholeare Trinidadian (Hemming 2020). I am worthless and you are not (Small Island 2019). Thenational identity, and the larger context of colonialism. (Landes 2012: xlii). The actors body, then, functions as andelivery of this speech exhibits the cruelty of this discrimi- The representation of West Indian and black British iden-untangle-able knot of living significations which the actorConsidering acting as an embodied phenomenon andnation fuelled and plagued by a deficit of compassion. tities within this performance, highlights the idea that the tunes accordingly to produce a harmonic set of meanings,process (Zarrilli 2013:42), then, necessitates a dialogueappearance and representation of black bodies on stage to perform a single gesture (Merleau-Ponty 2012:153).between the identity of the fictional character and theFinally, Gilbert speaks of the commonality between him- are inherently and unavoidably political. The political In this pivotal moment, the performed gesture expressesactor. His embodied consciousness (McCutcheon andself and Bernard who both just finish fighting a war forpower of the actors body enables the actorto publicly de-through psychophysical practice, the significance of nationSellers-Young 2013:2) incorporates both a representationa better world (Small Island 2019). As Gilbert appeals to aconstruct hegemonic structures and, in this performance, as a feature of cultural identity. of his cultural identity, a black man raised in Londonshared humanity, the actors body represents a fundamen- expose, destabilise, and redefine understandings of cultural (Hemming 2020) with family from the West Indies, andtal empathy that could be the foundation of any identity.identity.Yet, in this moment the political paradigms of the body,his understanding and psychophysical engagement with theTherefore, the actors body changes from representative framed by legislation under the British Nationality Actcharacters cultural identity, a black man with the statusbeing, to an affective, impelling force that is born fromHowever, the politicising of the actors body in this way, 1948, most clearly represent the strength of nation withinof British subject (British Nationality Act 1948) and firstand transcends the story. This challenges the idea that thehighlights ethical implications for the actors body in bear-cultural identity. The psychophysical work of the actorsgeneration West Indian migrant. Representation of culturalperformer ideally never becomes self-conscious (Zarrill- ing the weight of this representation on stage. The portray-highlights the role of policy in entrenching the idea ofidentities through the actors body here, is therefore under- li 2013:45). The actors self-awareness is, perhaps, whatal of cultural identities in this performance, resonates with nation further within cultural identities. Harvey and Eus- pinned by the understanding that embodied consciousnesscommunicates the message of the text so authentically.the view that white people should be actively anti-racist, taches Jnr portray the possibilities their characters see foris an integration of the brain and body as they interact withUltimately, through the representation of Gilberts cultur- to dismantle systemic racism because white supremacy themselves in this politically defined identity. The potencythe environment (McCutcheon and Sellers-Young 2013:2).al identity, the actors body speaks directly to the audi- is their construct, a construct they have benefited from of these concepts is brought into sharp relief through theAs Eustaches Jnr moves and speaks, Gilberts culturalence. Asking what then? (Small Island 2019), the body in(Oluo 2019). In this way, the actors body in Small Island personal, human stories of these characters. As a result,identity manifests through this specific synthesised body- collaboration with text offers a rich source of material forspeaks to white audiences who are the problem (Oluo the representation of the complexities of cultural identitymind and its interactions with the surrounding world. Hisspeaking to the contemporary moment (Holdsworth 2014:2019). This provokes a dialogue about white privilege and reveals the actors body as a transformative tool. In Smallembodied (McDermott 2007:204) process shows Gilbertsnp) regarding the representation of cultural identity as de- the ethical questions around the emotional weight of repre-Island, it exists as an instrument of change, presenting incultural identity as affected by overt racism when Bernardfined both by hegemonic prejudice and the hope of change.senting cultural identities as defined by specific notions of response to social disconnect and ignorance, speakingshouts Get your filthy black hands off my wife! (SmallTherefore, in light of the murder of George Floyd and thenation, and oppression.directly to a turning point or crisis in the national psycheIsland 2019). Therefore, it is the blurring of boundaries andresurgence of the Black Lives Matter movement, looking (Holdsworth 2014:9) which is in need of re-assessment, ofthe overlapping identities of actor and character that givespast the portrayal of racism and its impact diminishes theFinally, it is important to acknowledge the human story education, and motivation to do the work (Saad 2020).the text and actors body such potency within this moment. experience of oppression and violence that still significant- through which these identities are revealed. Within this Representation of cultural identities through the actorsly shapes black identities. To get beyond this, there mustperformance, the actors body works to convey larger body may, therefore, provide a space for the destabilis- Arguably, the depiction of black cultural identities withinbe change. The representation of the effect of oppressionsocially and politically constructed cultural identities, ing and redefining of restrictive, exclusionary hegemonicthe brackets of oppression perpetuates ideological stereo-discrimination on the grounds of race, ethnicity, and skinthrough the intimate representation of characters and their understandings of the ambivalent figure of the nationtypes and group narratives (Graver 1997:229), contributingcolourthrough the actors body confronts this injusticepersonal journeys. The weight of the human story suggests (Bhabha 1990:2). to the marginalisation of black cultural expression. How- face on. that it is the representation of a flawed but fundamental ever, within Eustaches Jnrs performance, the importancehumanity that provides the actors body with agency to re-In the last moments of this performance, the actors bodyof critically deconstructing the oppression which impactsTo conclude, in Small Island the actors body-mind isdefine cultural identities. And so, although the actors body represents a diasporic cultural identity as a product ofa black identity, is represented through the actors bodyengaged in a phenomenal, embodied consciousnessis clearly a site of complex meaning and representation, oppression and racism. Eustaches Jnr delivers an impas- and its interrelationship with character. When Eustaches(McCutcheon and Sellers-Young 2013:2), which facilitatesthe actor as a living, breathing, sentient being (Zarrilli sioned speech through Gilbert in which he asks, Am I toJnr performs Gilberts line You know what it make you?the representation of cultural identities through a psycho- 2013:42) cannot be reduced to symbols. The psychophys-be the servant and you the master for all time? Because youWhite. That is all, man. White, (Small Island 2019), his ac- physical acting process. The representation of culturalically embodied state emphasises that the actors body on white? (Edmundson 2019:127), exposing and challengingtors body works most powerfully through voice. Althoughidentity comes directly from the interrelationship betweenstage has a life beyond its character. Ultimately, the reso-the features history and contemporary configurations ofit may seem that text has a strong autotelic elementthe social, historical, and corporeal identity of both thenance of the human story significantly bolsters the political society exploit (Graver 1997:229) for dividing and mis- (Zarrilli 2013:46), the animation of these words happensactor and character. This relationship between actor andsymbolism within the representations ofcultural identities, treating groups of people. Engaging psychophysically tothrough his bodily engagement with them. In this way,character represents cultural identity as a kaleidoscopicthus contributing to the transformation of the actors body deliver the text, Eustaches Jnr plays Gilbert standing backthe the body is a form of consciousness (Romdenh-Rom- amalgamation of significations. These shape and influenceinto an affective, edifying vehicle of change.frowning, hurt, turning directly to Bernard who faces awayluc 2011:2-3), and the synthesis of the actors body-mindthe way in which an individual may understand who they towards the audience, and confronts him saying, Yournot only represents the cultural identity of the character,are in relation to the past, their current context, and others, white skin. You think it give you the right to lord it over ait brings it to life. Here, the performer as doer (Zarrillireinforcing the idea that cultural identity is not an essence black man. But you know what it make you? White. That2013:8) is emphasised as Eustaches Jnrthrough Gilbert but a positioning (Hall 2005:446). Consequently, in the 16 17'