Alcoholism on the American Stage: De-Stigmatizing Socially

320 Pages·2014·1.64 MB·English

by  Thomas Michael Campbell

Southern Illinois University Carbondale
OpenSIUC
Dissertations Theses and Dissertations
5-1-2013
Alcoholism on the American Stage: De-
Stigmatizing Socially Constructed Depictions of
the Alcoholic through Performance
Thomas Michael Campbell
Southern Illinois University Carbondale, [email protected]
Follow this and additional works at:http://opensiuc.lib.siu.edu/dissertations
Recommended Citation
Campbell, Thomas Michael, "Alcoholism on the American Stage: De-Stigmatizing Socially Constructed Depictions of the Alcoholic
through Performance" (2013).Dissertations.Paper 666.
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ALCOHOLISM ON THE AMERICAN STAGE: DE-STIGMATIZING SOCIALLY
CONSTRUCTED DEPICTIONS OF THE ALCOHOLIC THROUGH PERFORMANCE

by

Thomas Michael Campbell

B.F.A., University of Wyoming, 2003
M.F.A. Southern Illinois University Carbondale, 2007

A Dissertation
Submitted in Partial Fulfillment of the Requirements for the
Doctor of Philosophy

Department of Speech Communication
in the Graduate School
Southern Illinois University Carbondale
May 2013
Copyright by THOMAS MICHAEL CAMPBELL, 2013
All Rights Reserved
DISSERTATION APPROVAL

ALCOHOLISM ON THE AMERICAN STAGE: DE-STIGMATIZING SOCIALLY
CONSTRUCTED DEPICTIONS OF THE ALCOHOLIC THROUGH PERFORMANCE

By

Thomas Michael Campbell

A Dissertation Submitted in Partial

Fulfillment of the Requirements

for the Degree of

Doctor of Philosophy

in the field of Speech Communication

Approved by:

Anne Fletcher, Chair

Suzanne Daughton

Elyse Pineau

Mary Bogumil

J. Thomas Kidd

Graduate School
Southern Illinois University Carbondale
April 5, 2013
AN ABSTRACT OF THE DISSERTATION OF

THOMAS MICHAEL CAMPBELL, for the Doctor of Philosophy degree in SPEECH
COMMUNICATION: THEATER presented April 5, 2013, at Southern Illinois University
Carbondale.

TITLE: ALCOHOLISM ON THE AMERICAN STAGE: DE-STIGMATIZING SOCIALLY
CONSTRUCTED DEPICTIONS OF THE ALCOHOLIC THROUGH PERFORMANCE

MAJOR PROFESSOR: Dr. Anne Fletcher

This dissertation seeks to address the societal problems associated with alcohol abuse and
alcohol dependency in relationship to problematic depictions that have appeared on the
American stage. It examines plays that perpetuate stigmas as well as plays that seek to subvert
stigmas and stereotypical depictions as a means of creating avenues for discourse. This study
asks how we, as practitioners of the theatre, can use the theatre and the act of storytelling to
initiate empathy and compassion toward what is still considered a marginalized topic of
discussion.
Cultural misconceptions regarding the development of and (mis)understandings of
alcohol abuse/dependency are perpetuated in our everyday lives, and theatre too often falls into
the trap that perpetuates false ideas, which only furthers the stigmas and stereotypes associated
with alcoholism. Preceded by a brief Introduction that sets the tone for this study, Chapter One
offers medical information to delineate terms associated with alcohol use/abuse. UNIT TWO,
presented in two chapters, offers analyses of seven plays: Thornton Wilder’s Our Town, Eugene
O’Neill’s Long Day’s Journey into Night, Christopher Durang’s The Marriage of Bette and Boo,
Theresa Rebeck’s The Scene, Paula Vogel’s How I Learned to Drive, Tracy Letts’ August:
Osage County, and Stephen Adly Guirgis’ The Motherfucker With the Hat. Chapter Two focuses
on the first four plays of this list and how each presents a particular problematic and/or
stereotypical depiction of an alcoholic character(s) and/or alcohol use/abuse; Chapter Three
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focuses on the three remaining plays, which offer depictions and/or characters that
trouble/complicate the stigmas associated with alcohol abuse/dependency. UNIT THREE is also
cast in two chapters: Chapter Four looks at practices and theories used to enhance audience
engagement and introduces companies who are using theatre to directly confront issues of
alcoholism. Lastly, Chapter Five is a preface for my own full-length play (provided in Appendix
A), which acts as my contribution to the ongoing conversations and efforts to diminish the
stigmas and stereotypes within alcohol abuse/dependency. The dissertation concludes with a
summary and a look at how open conversations regarding alcohol abuse/dependency can lead to
empathy and understanding, bringing the topic out from the shadows in an effort to humanize the
topic and the individuals and families who are struggling and suffering from alcohol
abuse/dependency.

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DEDICATION

This dissertation is dedicated in loving memory of Delbert and Helene Premer, who now
know more than I could have asked.

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ACKNOWLEDGEMENTS
Getting to this point has been a long road, and I have been honored by numerous teachers
to whom I owe so much. Two teachers in particular have been instrumental in opening doors for
me and have been consistent in their unending love and support in my theatrical development. To
Gavin Mayer, who as a teacher turned mentor turned friend, saw something in me that I never
recognized in myself. Gavin, you opened the door, and in doing so, gave me a direction for a
life’s work that fulfills me beyond measure. To Bill Downs, who not only gave me the necessary
foundations in which I have built my work, but gave me the precious gems of wisdom of what it
means to be a playwright. Bill, your encouragement and knowledge, your dedication to the craft
and insistence that I explore my own voice, are tools I attempt to instill in my own students.
I would also like to acknowledge the advice, feedback, and guidance from Jacob
Juntunen. Jacob, while we have only known each other a short time, what you have given me this
past year is gratefully appreciated.
To the Heads of Graduate Studies in the Department of Theater, Ronald Naversen, and
Communication Studies (formerly Speech Communication), Ronald J. Pelias, I thank you both
so much. Dr. Naversen, your knowledge of theatre and its practices is beyond admirable, and I
owe you for your aid in helping me navigate the systems and policies of academia. Dr. Pelias, I
am indebted to you for your constant words of encouragement. Your wisdom as an instructor and
your gravitas as a person are traits I can only hope to strive for in my future endeavors.
To Faculties and Staffs of the Departments of Communication Studies and Theater, your
work is the bedrock on which I build, and your everyday presence and dedication to community
fosters an environment that brings a harmonious balance where theory meets practice.
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To my friends and colleagues, my cohorts, and my confidants, each of you are precious to
me:
 Devin Shallow, a friend for so many years, you were instrumental in the initial
development of Descartes…, and I thank you for your keen sense of dramatic structure, a
willingness and desire to work on this play with me, and for always being a true friend
full of encouragement.
 Dave Whitfield, you are an individual of such great value who can so genuinely and
completely give compassion and empathy to anyone in need, and I am honored to call
you a dear friend.
 Erin Zimmerman, I feel I can tell you anything, but in this moment I think simply saying,
“Thanks for the pen,” will suffice.
 Molly Cummins, thank you for your ear, your support, the sharing of sly looks with me,
and necessary sense of reality (a precious commodity).
 Diana Woodhouse, to you, I owe so much. Your willingness to listen to me, to ask the
questions that I needed to be asked, and to ultimately say, “I am so proud of you,” are
only a few of the things that set you apart. I owe you, and likewise, I am so proud of you.
 Laramie Dean, I wish you could have shared this journey with me in person, a journey
you took yourself, which acted as a monumental inspiration to me. Your help with
Descartes… in its early stages was pivotal, and I am grateful to you for your help and
friendship. I am so happy for the life you have, and I know we will one day be working
together again.
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 Becca Worley, you have been a rock of support, an anchor, and a vital port-in-the-storm
that I have been able to find refuge with time and time again. I have no doubt that you
will surpass all expectations in the coming year and years to come.
To Jaclyn Renée, who took a leap of faith and continues to do so every day and in the
days to come. Jackie, your charity, your love, is a beacon for me. I am looking forward to seeing
what the future holds.
To my parents, my first-responders (in so many ways), how can I possibly say what is in
my heart? How can I express my gratitude to you? My gratitude for you? We know the lengths
that you both have gone for me, and the only way I can think to speak my thanks is to live my
hopes, my promises, and my commitments with conviction and self-reflection, knowing that you
can watch with loving eyes and tenacious support.
To my sister, Caroline, whose work as a scholar and dedication as an educator is not
simply a vocation, but an embodied experience she takes with her into every moment of every
day. Like Mom and Dad, I can only hope to illustrate my gratitude to you for a lifetime of the
faith and care you have given me. Cari, my admiration for you is second only to my love, and I
will be your Daphne any time.
Lastly, but certainly not in the least, I express my gratitude and admiration to the
members of my committee who represent decades of experience that spans across the disciplines
of Theatre, English, Communication, and Performance Studies. Here, I thank my committee for
their combined wisdom and dedication to scholarship in rhetoric, dramatic literature, theatre
history, performance, and theatre praxis. My saving grace during the times where I was most
hesitant has been to know that my committee, above everything, has been a source of
unwavering support, understanding, and inspiration:
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