Staging the Theatrical Public Sphere in The Laramie Project

Contemporary documentary theater has become a favored genre in scholarship to investigate the relationship between theater and the public sphere (Reinelt, “Promise”; Balme; Claycomb, Lurch). Drawing on Christopher B. Balme’s concept of the theatrical public sphere and other scholarship, I examine how The Laramie Project (2000) by Moisés Kaufman and the Tectonic Theater Project stages the idea of the public sphere and, in the process, rethinks the form of documentary performance. On one level, the play reflects a discursive turn in documentary practice as multiple narrative layers dramatize the collision of opposing value systems and civic voices in order to challenge established boundaries between the private and the public, the liberal and the conservative, the rural and the urban, poverty and wealth, life and art. The theatrical sphere is constructed as an imaginary space not just of rational debate but of negotiating questions of accountability by appealing to the affective engagement of the audience. On another level, I argue, the play operates as a metatheatrical piece, using strategies such as a narrator and anti-illusionism to establish the theatrical public sphere as a conceptual framework that fuses sociopolitical engagement with a self-reflexive theater practice.