Round 4
OAK PARK --- AFF 1AC Act One is The Plague: In 1947 Albert Camus’s novel The Plague describes the extraordinary events in the ordinary African town of Oran. In this account, Camus showed how individuals should react to the absurdity of life, represented by a disease that killed randomly and indiscriminately. The novel proves that the reaffirmation of hope is the best action to take when faced with almost certain death. We bring you to the moment Oran is diagnosed with the plague. Camus 1947 (Albert, “Not an Existentialist”, The Plague) The word "plague" had just been uttered for the first time… If not, one would know it anyhow for what it was and what steps should be taken for coping with and finally overcoming it. X And SHUT go the gates of Oran without warning—the town becomes an island, isolated from the rest of the world, separating the diseased townspeople from their own family. Camus 1947 (Albert, “Not an Existentialist”, The Plague)
From now on, it can be said that plague was the concern of all of us. Hitherto, surprised as he may have been by the strange things happening around him, each individual citizen had gone about his business as usual, so far as this was possible… And in the long run, to these sterile, reiterated monologues, these futile colloquies with a blank wall, even the banal formulas of a telegram came to seem preferable. X
Act Two is AIDS Current AIDS discourse securitizes and individuates the disease along homophobic and racist lines, creating an ethic of exclusion. Our reading of The Plague is a demand for community in the arena of AIDS which counteracts the exclusionary logic of contemporary AIDS discourse by fostering a compassionate politics that realizes a community of difference. Gomel 2000 (Elana, Lecturer in the Department of English at Tel Aviv University, “The Plague of Utopias: Pestilence and the Apocalyptic Body,” Twentieth Century Literature 46, 4, jstor)
But can such a body be an object of a (political) desire? Can the entropia of communal dying, inexorably dwindling toward the lone figure of the last man, be recast as utopia?… But those who-perhaps understandably-seek a consolation in entropia should consider whether it does not skirt perilously close to genocidal utopia. Act Three is the Theatre Community theatre is dying out in Africa – more funding is needed Johansson 2007 (Ola, Lecturer in Radical Theatre and Performance Analysis at Lancaster Institute for the Contemporary Arts “The Lives and Deaths of Zakia: How AIDS Changed African Community Theatre and Vice Versa” Theatre Research International 32, p. 85-100) Some groups have simply given up; on my random revisits, villagers confirm to me that they have not taken part in theatre events for a long time, which usually indicates a general absence of prevention activities…
Soon, if they continue to be ignored and disrespected, the alienated youth will not tell us the truth any more but only mock us with a grinning death mask
AIDS theater creates community formed around the prevention of AIDS Johansson 2007 (Ola, Lecturer in Radical Theatre and Performance Analysis at Lancaster Institute for the Contemporary Arts “The Lives and Deaths of Zakia: How AIDS Changed African Community Theatre and Vice Versa” Theatre Research International 32, p. 85-100)
The development of community theatre spread across Africa via international workshops and eventually led to a third phase of community theatre, elaborated in countries such as Lesotho, Zimbabwe and Tanzania.31 At this point most of the creative and edifying modus operandi was entrusted the community subjects themselves, who participated directly in the planning and pe
OAK PARK --- AFF
1AC
Act One is The Plague:
In 1947 Albert Camus’s novel The Plague describes the extraordinary events in the ordinary African town of Oran. In this account, Camus showed how individuals should react to the absurdity of life, represented by a disease that killed randomly and indiscriminately. The novel proves that the reaffirmation of hope is the best action to take when faced with almost certain death.
We bring you to the moment Oran is diagnosed with the plague.
Camus 1947 (Albert, “Not an Existentialist”, The Plague)
The word "plague" had just been uttered for the first time…
If not, one would know it anyhow for what it was and what steps should be taken for coping with and finally overcoming it. X
And SHUT go the gates of Oran without warning—the town becomes an island, isolated from the rest of the world, separating the diseased townspeople from their own family.
Camus 1947 (Albert, “Not an Existentialist”, The Plague)
From now on, it can be said that plague was the concern of all of us. Hitherto, surprised as he may have been by the strange things happening around him, each individual citizen had gone about his business as usual, so far as this was possible…
And in the long run, to these sterile, reiterated monologues, these futile colloquies with a blank wall, even the banal formulas of a telegram came to seem preferable. X
Act Two is AIDS
Current AIDS discourse securitizes and individuates the disease along homophobic and racist lines, creating an ethic of exclusion. Our reading of The Plague is a demand for community in the arena of AIDS which counteracts the exclusionary logic of contemporary AIDS discourse by fostering a compassionate politics that realizes a community of difference.
Gomel 2000 (Elana, Lecturer in the Department of English at Tel Aviv University, “The Plague of Utopias: Pestilence and the Apocalyptic Body,” Twentieth Century Literature 46, 4, jstor)
But can such a body be an object of a (political) desire? Can the entropia of communal dying, inexorably dwindling toward the lone figure of the last man, be recast as utopia?…
But those who-perhaps understandably-seek a consolation in entropia should consider whether it does not skirt perilously close to genocidal utopia.
Act Three is the Theatre
Community theatre is dying out in Africa – more funding is needed
Johansson 2007 (Ola, Lecturer in Radical Theatre and Performance Analysis at Lancaster Institute for the Contemporary Arts “The Lives and Deaths of Zakia: How AIDS Changed African Community Theatre and Vice Versa” Theatre Research International 32, p. 85-100)
Some groups have simply given up; on my random revisits, villagers confirm to me that they have not taken part in theatre events for a long time, which usually indicates a general absence of prevention activities…
Soon, if they continue to be ignored and disrespected, the alienated youth will not tell us the truth any more but only mock us with a grinning death mask
AIDS theater creates community formed around the prevention of AIDS
Johansson 2007 (Ola, Lecturer in Radical Theatre and Performance Analysis at Lancaster Institute for the Contemporary Arts “The Lives and Deaths of Zakia: How AIDS Changed African Community Theatre and Vice Versa” Theatre Research International 32, p. 85-100)
The development of community theatre spread across Africa via international workshops and eventually led to a third phase of community theatre, elaborated in countries such as Lesotho, Zimbabwe and Tanzania.31 At this point most of the creative and edifying modus operandi was entrusted the community subjects themselves, who participated directly in the planning and pe