Cedric Wilson

French philosopher Jean-Paul Sartre was the first to make a distinction between the theatre of characters and the theatre of situations (also called the theatre of the absurd). And now just one month after the issue of the leadership in the Peoples National Party (PNP) has been decisively settled, it is evident that the internal politics of the party has moved from the theatre of characters to one of situations.

The theatre of characters is a drama in which larger-than-life mortals, irredeemably flawed, dominate the stage. In Greek drama, it is about Oedipus, who struggles against the inevitability of his own destiny and in the end kills his father and fornicates with his mother. In Shakespearean drama, it is about Hamlet, the idealistic and enigmatic prince, who exacts revenge on his fathers murder. In African literature, it is about Okonkwo, the no-nonsense clan leader who wrestles with his own identity and the disturbing intrusion of colonialism. Indeed, the audience never leaves the theatre of characters without an overwhelming sense of awe, admiration, pity or disgust for the hero, because invariably, we see in them a little bit of ourselves.

final curtain

It is in that sense that the PNPs presidential election of September 20 represents the final curtain in a theatre of characters. Back in February 2006, in the race for leadership of the party, there was no question as to who were the two top contenders. There was Portia Simpson Miller, a woman who had worked her way up from the rank and file of her party to a position of respect and influence.

On the other hand, there was Peter Philips, a former senior lecturer at the University of the West Indies; a man who had proved himself to be a tireless and effective worker in the ministerial positions he was given. Of course, there were two other contenders in the race, but the record clearly shows that together, they did not even as much as amount to one.

Given the intensity of the race and the size of the prize, the outcome left one important question unanswered: What if the other two guys had not been in the race; how would the 483 votes those lesser contenders got have been divided between Phillips and Simpson Miller?

So, the theatre of characters did not end there. With a general election only months away, there was an uneasy cooperation within the party, but never unity; the party anthem was sung by all, but not with the same voice. As the months dragged on, the issues were raised about Simpson Millers capacity to lead and PNP rating sank in the opinion polls.

Therefore, when Peter Phillips announced that he would put in a challenge for the leadership of the party, it was just another act in the same theatre of characters. True, it was a departure from party traditions it was the first time a sitting president was being challenged in the 70-year history of the party.

But what is drama without a twist to the plot? What is the point to theatre if it is an unending repetition of the same? There were questions that needed to be settled and in the theatre of characters, the drama only ends when there is a resolution. When the curtain falls in the theatre of characters, the audience might be left swimming in tears, rolling on the floor with laughter, or transfixed in deep contemplation, but inevitably, there is a resolution. Simpson Millers ability to energise the party base and cash in on the support of the organisations grass roots remains unshakeable. She shook off the challenge by taking 55 per cent of the votes in the competition with two contenders.

Life as a whole is complex and politics is even more complex. Locating an answer might raise more questions; finding a solution might create another problem; the end of one drama might be the beginning of another. In the PNP leadership drama, the falling of the curtain in the theatre of characters has led to the opening scene in the theatre of situations.

The theatre of situations is a drama in which there are no heroes circumstance takes precedence over characters. And in the end, its audience walks away remembering little about the characters, but captivated by the situation. Phillips theme in his second bid for leadership was Arise and Renew. It had a prophetic ring; it resembles something that could have been lifted from the Book of Isaiah; it speaks of a vision to capture the essence of a glorious past and project it upon a future laden with potential. That call went silent when Philips lost, yet he still remains a member of the party. For the party there is the difficult matter of dealing with the vanquished. For the loser and his supporter the question is: What will be their new role in the context of the defeat?

drama continues

The Phillips camp has conceded defeat and seems to have submitted to the leadership. Yet, the drama has continued. There was a move afoot sponsored by the party chairman, Bobby Pickersgill, to limit challenges to the party president. Then Phillips, in a letter to the party, announced that he would not attend last weeks party conference. His presence, he said, would create the risk of inflamed passions leading to disruption, abuse or worse. This, incontestably, is evidence of the theatre of situations.

Maybe nothing better illustrates the idea of this theatre than Jean-Paul Sartres play, No Exit, which was staged while France was still emerging from he rubble and debris of World War II. No Exit has only one scene and for the entire play there are three characters, two women and a man, who find themselves in a single room in which they are to spend eternity.

Over time, the interaction between the characters degenerates into endless bickering and excruciating quarrels. Then somewhere in the drama, it becomes clear to the miserable trio that they are in Hell. There is no fire, no devil, no instrument of torture, but the reality was unmistakable. Indeed, the entire play may be summarised in a line from one of the characters: Hell is other people.

It is clear that both Phillips and Simpson Miller are valuable to the party. But how can the man of intellect abide with the woman of the people in the theatre of situations?

Cedric Wilson is an economics consultant who specialises in market regulations. Send your comments to: conoswil@hotmail.com.