Aesthetics of Unease: A Brechtian Study of Anna Deavere Smith’s Eyewitness Performance in Fires in the Mirror

This paper discusses the aesthetic and social implications of enacted eyewitness accounts. For Brecht, the principles of eyewitness performance served as a “basic model” for contemporary epic theater as a performed critique of social life, with the “Street Scene” (1940) and a camp scene (1939/40) as the paradigmatic sites of eyewitness acts. With Brecht and Smith, who superimposes these sites in her multi-media work on the Brooklyn Crown Heights Race Riots in 1991 (1992-94), the theatricality of eyewitness accounts, their “uneasy” aesthetics and acting technique, becomes crucial to understanding the present moment in culture. Concomitantly, enacted eyewitness accounts politicize and de-psychologize our understanding of their scenes. They are not about identity – what we are – but about personhood, about how we are as social creatures, in legal, aesthetic, and material terms.