Research Statement
As a theatre scholar, my primary interest is Theatre of Trauma & Human Rights. Because the genre is not limited to any particular era or region of the world, and because the term “trauma” can refer to a multitude of particular horrific events and the ensuing physical, mental, and emotional damage, I found that a theoretical grounding for my study of this type of theatre must focus on the lowest common denominator: the human body. When we take into consideration the diversifying effects that ethnicity, culture, and society have on any given human being, one of the few things that we have in common is the way our bodies and minds function. As such, the cognitive sciences have become a keystone in my work to facilitate the examination of a diverse range of trauma topics—from domestic abuse to political terror—in far-reaching parts of the world.
My dissertation, entitled “Blown Off the Road of Life by History’s Hungry Breezes”: Sebastian Barry as Therapist and Witness, examines ten plays and novels by Barry in terms of the risks that writers of traumatic material take in tackling such sensitive material. Studies in empathy have shown that writers are more prone to empathic distress than the general public, and continued empathic distress can lead to symptoms of Post-Traumatic Stress Disorder. The claim that the act of writing about traumatic material is precisely what can offset that emotional distress is supported by neuroscientific studies in empathy and psychological studies regarding traumatization and recovery. When writers engage in fictional storytelling, and particularly when they are using historical events and people as models for their narratives, the writers are actually engaging in a form of secondary witnessing, giving testimony about a traumatic event they did not directly experience. This practice follows the psychological methods used in therapy for recovering trauma victims and allows the writer to engage productively with the material without suffering undue distress.
Using the cognitive sciences to speak about theatre and the artistic process shows that art is not only a practice that can aid in physical and mental healing, but also an area of study that can work in harmony with the sciences to develop new and meaningful theories on human behavior. It is vital that the world of art and the world of science have an interdisciplinary relationship, not simply to legitimize the funding and support of artistic study, but more importantly to demystify the creative process, so that greater heights can be reached through the scientific study of how to create effective, affective, and engaging art.
My forthcoming book project centers on the mutual relevance and intertextuality of ten of Barry’s plays and novels. Barry creates characters inspired by his ancestors, particularly individuals who were silenced in the narrative of Irish history for their failure to adhere to societal norms. By employing research on the neuroscience of empathy and the psychology of trauma recovery, the book focuses on Barry’s use of his family tree and the prevailing theme of war as a commentary on the historical turmoil of defining Irish identity. There has yet to be an extensive study of Barry’s work by a single author, despite his reputation as one of Ireland’s leading authors, and my book will situate him at the forefront of current debates on the politics of Irish memory and identity.
My dissertation, entitled “Blown Off the Road of Life by History’s Hungry Breezes”: Sebastian Barry as Therapist and Witness, examines ten plays and novels by Barry in terms of the risks that writers of traumatic material take in tackling such sensitive material. Studies in empathy have shown that writers are more prone to empathic distress than the general public, and continued empathic distress can lead to symptoms of Post-Traumatic Stress Disorder. The claim that the act of writing about traumatic material is precisely what can offset that emotional distress is supported by neuroscientific studies in empathy and psychological studies regarding traumatization and recovery. When writers engage in fictional storytelling, and particularly when they are using historical events and people as models for their narratives, the writers are actually engaging in a form of secondary witnessing, giving testimony about a traumatic event they did not directly experience. This practice follows the psychological methods used in therapy for recovering trauma victims and allows the writer to engage productively with the material without suffering undue distress.
Using the cognitive sciences to speak about theatre and the artistic process shows that art is not only a practice that can aid in physical and mental healing, but also an area of study that can work in harmony with the sciences to develop new and meaningful theories on human behavior. It is vital that the world of art and the world of science have an interdisciplinary relationship, not simply to legitimize the funding and support of artistic study, but more importantly to demystify the creative process, so that greater heights can be reached through the scientific study of how to create effective, affective, and engaging art.
My forthcoming book project centers on the mutual relevance and intertextuality of ten of Barry’s plays and novels. Barry creates characters inspired by his ancestors, particularly individuals who were silenced in the narrative of Irish history for their failure to adhere to societal norms. By employing research on the neuroscience of empathy and the psychology of trauma recovery, the book focuses on Barry’s use of his family tree and the prevailing theme of war as a commentary on the historical turmoil of defining Irish identity. There has yet to be an extensive study of Barry’s work by a single author, despite his reputation as one of Ireland’s leading authors, and my book will situate him at the forefront of current debates on the politics of Irish memory and identity.