Title: Critical Essay on "The Laramie Project"
Author(s): Joyce Hart
Source: Drama for Students. Ed. Anne Marie Hacht. Vol. 22. Detroit: Gale, 2006. From Literature Resource Center. Document Type: Critical essay
Full Text: COPYRIGHT 2006 Gale, COPYRIGHT 2007 Gale, Cengage Learning Moisés Kaufman's The Laramie Project is most often referred to as a docudrama, a play that is largely based on real facts. To this point, the play is all but a work of nonfiction. But despite the fact that the basic elements of the play are based on actual events with their own inherent drama, Kaufman's talents as a playwright were used to enhance the emotional impact of the events and thus create an atmosphere that ultimately stirred his audience more than just the reading of the actual events might have caused. The question is then, how did he do this? How did he formulate the play in such a way that he made the events come alive not with just the details but with all the complexities that surrounded the crime? How did he piece together not only the central events of Matthew Shepard's murder, but also the information that he and the members of Tectonic Theater Project gathered? How did Kaufman arrange his material so that people who came to see the play were stirred to the point of wanting to ask more questions of themselves, of their community, and of their society as a whole? In other words, how did Kaufman turn real events into a work of creative theatrical drama? Pay attention to this, the playwright seems to be yelling. This is important, and I am not going to let you go without feeling the incredible and unforgettable drama of it all. Most of these questions can be answered in a very simple way. The overall tool that Kaufman uses to create drama is contrast. But what is less obvious is how he uses this tool. To begin this exploration, one needs to go no further than the beginning of the first act. It is here that readers can witness how the playwright pits one thought against another, as he dives into the interviews and arranges the sentences of each interviewee so that one stands either in partial or complete contradiction with the other. For example, several townspeople offer background information about what life, under normal circumstances, is like in Wyoming. "You have an opportunity to be happy in your life here," states Rebecca Hilliker, a professor at the University of Wyoming, where Matthew Shepard attended classes. The setting that Hilliker describes is in stark contrast to the circumstances that are about to be discussed, of course. But it is through contradictions such as this that Kaufman plays with the emotions of his audience. Another example occurs when Kaufman offers the statement of Philip Dubois, president of the same university. Dubois describes how safe he feels living in Wyoming. In contrast to what he would do if he lived in a large city, in Laramie Dubois allows his children to play unsupervised outside at night. "My kids play out at night till eleven and I don't think twice about it," Dubois says. This statement resonates with the audience, which is already aware that Shepard was killed at night, possibly in a similar location in which Dubois's children might have played. It is in this way that Kaufman sprays a mist of emotional colors throughout his play, teasing his audience first in one direction, than jerking them abruptly to the other edge of the spectrum. Even though the general consensus of the interviewees at the beginning of the play is that of peace and the belief that Wyoming is a nice place to live, Kaufman weaves through these positive comments statements that hint otherwise. Another example is the comment of Doc O'Connor, a relatively new arrival to Wyoming. Although O'Connor agrees that Wyoming is a great place to live, he adds a sinister touch to his statement. "They say the Wyoming wind'll drive a man insane," he says. By including O'Connor's statement, Kaufman throws out yet another hint...
Please join StudyMode to read the full document