«سوز شب»: هاوارد بارکر و تمثیل در عصر پساحقیقت

This article examines Howard Barker's play The Bite of the Night (1988), one of the earliest dramatic works to exhibit sensitivity to the emergence of the post-truth era in the 1980s. Barker, the prominent English playwright, introduced his “Theatre of Catastrophe” style in political theatre, which transcends linear and realist narratives to focus on ethical complexities and ontological ambiguities. The article argues that The Bite of the Night simulates the crisis of truth and contemporary moral ambiguity by dismantling classical narrative structures—such as dramatic causality and psychoanalytic character development—and employing postmodern allegory. In this work, the post-truth worldview is represented through impulsive emotional decisions and oversimplified analyses, placing the audience in irresolvable ethical dilemmas.
The historical context for this shift can be traced to Margaret Thatcher's policies (Thatcherism), which promoted extreme individualism and eroded collective narratives, thereby undermining public trust in cultural authorities. Concurrently, the dominance of digital media and visual culture from the 1980s transformed social communications, shifting civic participation toward digital interactions. Within this framework, political theatre moved away from rational analysis and started to seek emotional impacts and narrative-subverting strategies. Similarly, Barker, distancing himself from socialist theatre, offers no explicit message in The Bite of the Night; instead, he challenges the audience's emotions and ethics.
The character of Helen, inspired by Homer's Helen of Troy in the Iliad, becomes an allegory of meaning’s instability and interpretive failure. Savage, a Greek classicist and archaeologist, searches for the original Troy and the essence of Helen amid eleven ruined cities, each symbolizing historical repetition and cultural decay. Helen’s gradual mutilation—from emblem of love and beauty to incarnation of sexual desire and death—not only showcases Barker's poetic violence but also exposes cultural processes of meaning-making. Drawing on new definitions of postmodern allegory offered by Jeremy Tambling, allegory in this play is not a tool for decoding fixed truths but a process of endless deferral and semantic slippage. This “possibility of multiple meanings,” draws the audience into a self-aware game of signification.
The article’s theoretical framework rests on post-truth discourse, which Lee McIntyre (2018) describes as the abuse of power amid the weakening of truth's foundations. William S. Boltz (2022) traces its roots to 1950s advertising lies and Reagan's policies, yet the article emphasizes Barker's prescient sensitivity in the 1980s. The play's non-linear structure and contradictory dialogues immerse the audience in ontological bewilderment, where competing narratives supersede reality. The research builds on interpretations of the play by David Ian Rabey (1989), focusing on “ecstasy through catastrophe”; Charles Lamb (2005) discussing linguistic seduction; and Caroline Gritzner (2015) analyzing Helen's duality, and moves beyond them in correcting the misinterpretation of allegory in the play.
Ultimately, this interpretation not only highlights Barker's significance in contemporary theatre, but also redefines political theatre as a “laboratory for the ethical crises of our age.” In today’s world, where Brexit and Trump epitomize post-truth, The Bite of the Night remains strikingly relevant, underscoring the need for innovation in representation to enable social intervention. The article suggests that Barker's Theatre of Catastrophe, by unveiling cultural mechanisms of reality construction, serves as a vital tool for resisting dominant narratives.