The forgoing arguments, facts, and experiences give me reason to believe that the absence of awareness, or the presence of confusion, surrounding the documentary theatre in the United States, a difficult art, is the result of, more than anything else, a lack of information. Therefore, my objective has been twofold: to provide clear and simple language about this theatre art form, and as a result, stimulate further interest in this field of drama.
Proof that a pattern of confusion exists about documentary theatre in the United States is seen not only in the consistent way formal responders fail to mention it in their writings, but also in the way that some who make documentary theatre are also unaware of the form's history. Additional proof of this pattern of confusion is seen in the 1994 Pulitzer Prize controversy when the selection committee deemed that Twilight: Los Angeles, 1992 is not a play Also, documentary theatre has consistently been interchanged with the term docudrama by theatre critics and scholars alike. This is unfortunate because the two are antithetical and adversarial as far as truth, factuality, and objectivity are concerned. Docudrama is a term the general public thinks of when they read in their local television listing a drama as a “true-story” or “fact-based.” Documentary theatre, meanwhile, is a term specific playwrights associate with factual authenticity, primary source documentation, and Piscatorian stage devices in relationship to objective fairness, and the promise of truth in a dramatic reenactment of a historical moment. The practice of calling documentary theater docudrama contributes to uncertainty about the form. Consequently, the practice has influenced, I feel, its reception in the mind of the critic, and the typical audience member. For instance, there is little to no confusion when it comes to documentary film being called docudrama. The mistake is simply not made.1
For documentary theatre practitioners, the essence of theatre is to entertain (a good theatre word) and to teach (another good theatre word). But more, its rul-