Professional Documents
Culture Documents
of
choice
by
Heidi
Thorsen
on
03/08/11
at
2:06
pm
to describe the role of the non-birth mother. In other words, they live in a world of language that simplifies gender into a dichotomized choice. Taboos reveals how the authority of limited language to prescribe human choices needs to change. However, Taboos also acknowledges a complicated scenario in which sex can be chosen through the specificity of reproductive technology. One of the characters, Harriet, consciously chooses to have a male child. This decision might be regarded much more critically in the context of a patriarchal Chinese society. What are the extreme implications of technological reproduction? Djerassi chooses not to address them on a political level but rather on a personal levelthe level that potentially applies to members of his audience. Djerassi does not want to portray technological reproduction as an extreme exception, but rather as an impending norm. The educational component of the show is emphasized in this production through the location of the performance. Cubberley Auditorium, not a traditional theater space, is also the center of Stanfords School of Education. Despite the virtual absence of a backstage, the Stanford production makes optimal use of the space through the use of projections, which string together the diverse locations of the story and serve as a subtle reminder of the lecture hall. Bearing in mind the central theme of choice, it is not surprising that Djerassi has latched onto the world of art, especially drama, as a means of scientific expression. Dialogue, which presents issues from an external point of view and deals equally with perspectives in time and space, leaves immense room for choosing interpretations. The audience is constantly creating counterfactuals of what might happen next. Even in the end of Taboos the audience is uncertain of the next step for these characters whether the parallel couples will reconcile with one another or remain at odds because of complex issues of kin. Djerassi himself has tinkered with the play and seen it evolve through numerous productions in London, New York City, and several cities in Austria and Bulgaria. As Djerassi stated, a play is never finishednot for the audience and not for the playwright. Taboos successfully achieves the status of a play that does not terminate, but rather opens up more questions and, most importantly, a greater understanding of the broad range of choices that women and men will have to make in an age of technological reproduction. Heid Thorsen is an undergraduate student in the Drama Department at Stanford. She is part of the Clayman Institute student writing team, reporting on gender topics at Stanford.
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