West Indian theatre : Derek Walcott and the infinite rehearsal

This thesis analyses three of Derek Walcott's plays in the light of Wilson Harris's ideas of 'infinite rehearsal' and 'unfinished genesis.' The purpose of this thesis is to explore Walcott's definition of the artist and his relation to society in the context of decolonisation. Throughout the thesis the struggle against nihilism appears as a constant underlying goal that both writers relate to the essence of the Caribbean, as a symbol of survival and regenesis. The first part of the thesis offers a deep analysis of Harrisian concepts of literature and its connection to reality, and an exploration of the links between Harris's ideas and the theatrical genre in the context of Walcott's early theatrical endeavours. The second part of the thesis presents a reading of Ti-Jean and His Brothers, Dream on Monkey Mountain, and Pantomime, that highlights the development of Walcott's notions of the artist in relation to his society and to the world. The unresolved conflicts of the pre-1970 period give way to a coherent and grounded set of principles that offer an example of one Caribbean artist's attempt at restoring the pieces of his fragmented identity. Reading Derek Walcott's plays in a Harrisian context throws new light into his theatrical production, and brings to the surface elements that had remained hidden and overlooked. The use of Wilson Harris as a theoretical background responds to two main aspects of these writers' work. On the one hand, the scope of Wilson Harris's philosophical world draws links with manifold cultures and literary traditions. More importantly, Wilson Harris proposes a fluid environment in which Walcott's divided self can find a suitable malleable ground