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Then you'll clean the toilets. You'll eat in a corner in the kitchen. You'll learn. I swear to God you'll learn! Do you hear me? Yet the father is no freer, no more individualized or autonomous than the children. He, too, is an object, a reject. He's useless. The father is merely a larger version of Lalo, described in words echoing those Lalo uses to describe himself. And so, we assume, the circle widens across the society to include larger and larger versions of the same pathetic beings, and it spirals temporally as generational, biological self-perpetuation.

In this insistence on circularity, Assassins simultaneously reflects and challenges the biological model of historical process. Lalo is both a product of past events and, at the same time, the being who perpetuates the past into the future.

Twentieth-century theatre

As with Oedipus, the biological fact of his existence generates history and sets in motion a series of foreseeable events, the petty domestic miseries decreed before he was born. Although Lalo kills his parents -symbolically if not literally- the killing itself is not the main problem. The entire issue of the killing seems more practical than ethical; it is not so much a question of whether they should or should not as of whether they can or cannot. The problem is that he and his sisters cannot find new ways of acting in order to devise new strategies for reorganizing their territory once they have conquered it.

Should they tear down the house -revolution? Should they improve on what they already have -internal reorganization? Should they leave the house forever -exile? But the endless abreactions seem to preclude the possibility of action altogether. One of the most striking features about this play is the limitation of choice and absence of viable alternatives.

The characters repeatedly act out a series of roles that undermine rather than establish identity and context. Lalo, playing father at the end of the play, replaces his father in true Oedipal fashion, substituting one power figure for another. But is this revolution?

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Lalo fights with his sisters, hits them, orders them around, steals the show, and thus reproduces the male-dominated, violent world he had tried to leave behind. So while he may be capable of violence and murder, he is incapable of radical change. Here, I feel, Triana expresses his views on the recently triumphant revolution.

The violent usurpation of political power did not guarantee social renovation. The challenge of the revolution was to create a new system of power that would not reproduce the oppression and dependency of the ones before. The father, incapable of directing his own life, crumbles under the challenge. So does Lalo. Like father, like son. But love has failed. So has the struggle for personal autonomy and self-determination.

Lalo remains trapped in a parental body that rejects him, locked in an annihilating family structure that deforms him: biology as history and history as biological process. Here, then, we have repetition not only as circularity and substitution but also as degeneration. Each new revolution bespeaks new failures, deeper depths of despair.

Triana offsets the circular, downwardly spiraling motion of a degrading biological process by juxtaposing another model of repetition and recreation: theatrical rehearsal.

Michiel Vandevelde & fABULEUS

Repetition signals more than a simple replay. Practice makes perfect; rehearsal culminates in performance. This is revolution's utopian project. In this sense, revolutionaries are absolutists and romantics. However, Assassins illustrates that there are at least two major problems in the theatrical model of progress and re-creation. The first though from the perspective of Assassins not the most important is that the theatrical model of self-engendering, of conceiving oneself otherwise and merging with a theatrical image, necessarily encourages a degree of mythification.

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Triana is aware of both the positive and the negative implications of creating and assuming new roles. On the positive side, research by psychologists notably J. Moreno, who in the s developed the psychodramatic technique for altering human behavior and theatre therapists for example, John Bergman of Geese Theatre, who works with criminals in penitentiaries indicates that individuals can increase their options for functioning in the world by assuming new roles.

But whereas these examples presuppose that the individual is the deviant who must adapt to social reality, not all those who use theatre techniques to change the role of the individual in social systems share that assumption. Taking on new roles, according to Boal, is not an adaptive but a revolutionary technique to help individuals change the system. On the positive side, Triana, like Boal, shows the world improving as a consequence of the children's ability to find more independent and better-directed ways of acting.

The negative aspect of taking on theatrical roles is that though only new roles will allow the children to change their sociopolitical situation, the characters' uncritical identification with heroic images threatens to trap them in a totalitarian fantasy.

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Ultimately more self-defeating, from the context of Assassins , is that the paradigm of theatrical self-engendering only revamps an old, basically misogynist model of historical process. Like the Hegelian and Marxist theories of human perfectibility through conflict, work, and thought, the theatrical model also maintains that humans specifically males can eschew biology and bring themselves into being. Lalo the mover and doer in the play believes he can overcome biological determinism through theatrical representation by casting himself in desired roles varying from high priest to assassin.

I know that I was born otherwise, born of my own works and not of a mother Moreover, Artaud's search through theatre for a way of recreating himself, extreme as it is, strangely echoes Hegelian and Marxist political thought.

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Rather than signaling a new self-conception, however, these repeated images of self-engendering obfuscate what is basically the male appropriation of the process of gestation and birthing, revealing perhaps not so much a new historical paradigm as a profound fear and hatred of women. In other words, the image of the man giving birth to himself does not alter the biological model so much as simply eliminate woman from the process. The model not only excludes women; it is a negative inversion of the biological process of gestation itself.

The skewed version of historical process in Assassins is consistent with the world view in the play as a whole; the children's failure to create new roles is linked to their inability to go beyond old paradigms of history; their definition of self whether individually or historically still depends on the elimination of the m other. The revolutionary act becomes conflated with the misogynist act.

For Lalo, autonomy comes only through the radical separation from parental bonds, exemplified in maternal engulfment pregnancy ; as in Plato's simile of the cave, enlightenment comes only upon leaving the uterine dwelling; in historical paradigms, revolutionary man becomes self-engendering through his own labor. As Lalo's predicament indicates, it proves impossible to envision new roles without also devising new constructs that allow new ways of thinking about such concepts as origin, progress, revolution, and history.

How, then, can the children create new roles that will permit freedom of action and self-definition without reproducing the violence and limitations of the old? How can they devise a different way of thinking about individual and historical process that does not lead back to the old dead ends? How can revolution create a new society without recreating the problems of the previous one? The roles, images, and ideas produced and reproduced in Assassins illustrate that without a conceptual breakthrough, progress is illusory.

The illusion of progress is maintained through a process of repetitive substitution rather than by linear development. The creation of a fictitious, theatrical self is only a re-creation that hinges on the elimination of the real other, which is then replaced by a false other and a false self. Instead of the past, the home, the parents, we have the present, the room, the children -who then generate their version of history.

Yet the past melts into and is indistinguishable from the present.

Michiel Vandevelde & fABULEUS

The room beyond the door, the parents, the past -in short, everything we can suppose to represent the real other in Assassins - proves only a refraction of self: that room is probably no different from this room, so the problem is not only there but here ; the parents are probably no different from the children; the present represents the past.