Revolutionary social movements tell the world that their eventual triumph is inevitable, and radical theorists conceptualize this necessity as determined by the unstoppable force of material interest. Itâs a very different story inside revolutionary movements, however. They are dramaturgical engines. Let Marx pretend that the revolution responds merely to objective interest, depicting workers as proto-scientists following rational, instrumental plans. Lenin knew better. Attacking the fallacy of economism, Lenin put ideology at the center of revolutionary mobilization, organizing Bolshevism as an active, pragmatic, top-down party in the service of socialist ideas.3 Antonio Gramsci dubbed the Communist Party the âmodern prince,â taking his cue from Machiavelli.4 In 1917, when Leninâs revolution succeeded, Gramsci created a double entendre banner headline, âRevolution against Capitalâ in Avanti, the Italian revolutionary newspaper he edited, ironically suggesting that Marxâs scientific theory could never have predicted it. Gramsci knew that the revolution in Russia had succeeded not because of the laws of capital but because of the dramaturgical powers of the Bolshevik Party.5
The textual background and its limits
In their radical reinterpretation of Maoist strategy in the decades preceding the Chinese revolution, Revolutionary Discourse in Maoâs Republic, David Apter and Tony Saich transformed this line of cultural Marxist thinking into a poststructuralist frame. Moving away from a reductionist, ratiocinative conception of ideology toward a Geertzian, thickly semiotic one, they conceptualize the revolutionary organizer as a storyteller, âan agent with a special ability to lift the burden of storytelling from the shoulders of the individual by enabling that person to share it with others [so that] the property of the story becomes the property of the discourse community.â6 The story-teller-in-chief of the Chinese revolution, Mao Zedong, culled âmyths, stories, texts, and logical prescriptionsâ from Chinese and Western traditions, pulling âout of the terrible circumstances and conditions of life prevailing in Chinaâ the vision of a âutopic republic.â With this vision, Mao âwas able to refract and generate a field of force, at the epicenter of which he becomes a teacher.â7
Apter and Saich are forcefully anti-materialist and anti-ârational actor,â but their culturalizing account of the revolutionary process doesnât go nearly far enough. Their political discourse analysis presents the Chinese revolution as an âexegetical creation.â But seeing such an extraordinary event merely as an âexpress embodiment of a structure of ideasâ ignores the performative challenges that must be met in real time, the complex process of acting out ideas and getting an audience to believe them. âFor stories to be shared with others,â Apter and Saich acknowledge, âpeople must want to listen,â but conceptualizing just how to get folks to want to listen is the thing.8 To suggest simply âwords themselves became performativesâ keeps us in the dark, inside philosopher J. L. Austinâs narrowly linguistic black box, where performativity is achieved by speaking itself. The dramaturgical process that sets the stage, the directing process that organizes mises-en-scĂšne, the skillful creativity of actors or the lack thereof, the organizational and symbolic challenge of creating the appearance of seamless fusion between audience, actors, and animating script â all this remains to be conceived. Clearly, Mao had the ability of âcommunicating to listeners a feeling of privileged access to the interpretive wisdom of a mind in motion,â9 but the communicating process, the feeling of privileged access, even the attribution of wisdom â all need attention.
Apter and Saich offer a tantalizing glimpse into the black box of dramaturgy when they situate Maoâs storytelling inside the caves of Yanâan, where the Chinese Communist movement went into hiding after their âLong Marchâ to escape the ruling Guomindang Party in 1937â38:
Narrating the stories and writing the texts, [Mao] makes himself part of the process. Everything associated with his person also becomes significant â the long hair, the long fingers, the baggy clothes, the earthy expressions, the fact that he scratches himself with the same fingers that hold the brush. [Mao] was very careful to arrange himself to project just the image he wanted.10
In the end, however, Yanâan is portrayed simply as âa semiotic spaceâ and Mao as a leader âin sole possession of an inversionary discourse capable of generating public support,â an âinterior system of codes, symbols, and iconâ that proved âcapable [of] unifying a diverse community.â11 But was discourse itself sufficient to unify a fragmented and demoralized community? What actually transpired in the caves of Yanâan? What allowed the ideological revivification process to unfold successfully? âUsing metaphors and metonymies Mao creates a code,â Apter and Saich argue, âthat enables the narrative to endow gestures, acts, dress, dwelling and above all language and literacy with the power of signifiers.â12 But much more must also have been involved â creative, unscripted gestures and movements, props and staging, official and dissenting interpretations, unresponsive and silent audiences, but also cries of delight.
That âan individual has become assimilated into a discursive communityâ13 is certainly a useful indicator of cultural-pragmatic success, but what exactly does it measure? What we need to know is how the fusion between speaker and audience is actually accomplished. It is not enough to suggest âa person has absorbed and internalized the ritual.â14 How a contingent and labile performance comes to be regarded as an absorptive, repetitive, and solidarizing ritual is whatâs empirically and heuristically at stake. For texts to be internalized, performance must be felicitous. Apter and Saich note âthe revolutionariesâ claim that both the [Marxist] dialectic and the system of [Maoist] ideas were always there, an enduring authenticity waiting to be perceived.â15 Claims of authenticity, however, must be dramatically redeemed.
Authenticity is not something already there, waiting to be...