In this dissertation, I create a Wiccan dramaturgical lens to analyze three key fantasy sites: The Wizard of Oz film and stage adaptations (especially the Broadway musical Wicked), The Chronicles of Narnia film and theatrical adaptations, and the Harry Potter films and paratheatrical adaptations. These three fantasy stories have significant cultural impact and strong images of folkloric witches. My alternative reading shows how a subgroup can appropriate popular images for their own identity formation. I will analyze how signs, themes, and narrative tropes that otherwise seem ancillary or even anti-witch become highlighted and privileged, creating a different but equally legitimate counter-text for the Wiccan spectator (or for any spectator looking through a Wiccan dramaturgical lens).
I model my primary methodology on Stacy Wolfs A Problem Like Maria, where she gives a queer reading of popular musicals. Following Wolfs lead, a Wiccan reading of these texts highlights how the witch images offer opportunities for Witchcraft practitioners to perform their own faith identity. Using the theories of Neo-Pagan identity as developed by academics well-grounded in the field of Witchcraft studies, I distill nine specific identity markers in three categories to locate and describe Wiccan spectatorship. After grounding my methodology in performance studies in my introduction, I explain the relevant Wiccan history, beliefs and practices in my first chapter. In my second chapter, I analyze Wiccan culture (relationship to other faith groups and society) in the film The Wizard of Oz (1939) and the musical Wicked. In my second chapter, I discuss Wiccan beliefs (theology) through a close reading of the film The Lion, the Witch, and the Wardrobe (2005) and the stage musical Narnia. In my fourth chapter, I identify Wiccan practices (the use of costumes, tools, and space in rituals) as found in the Harry Potter films and paratheatrical activities. In my final chapter, I make conclusions about this type of subcultural performance of identity and introduce the concept of ritual innovation based on modern myth. I argue that performance of fantasy witch images can be a tactical syncretism that alters/assimilates a new authenticity, bridging ancient folklore to modern religious identity.
| Identifer | oai:union.ndltd.org:LSU/oai:etd.lsu.edu:etd-03242011-154544 |
| Date | 29 March 2011 |
| Creators | Gray, Jessica Satterwhite |
| Contributors | Wade, Les, Fletcher, John, Fletcher, Kristopher, Euba, Femi, Sutherland, Gail |
| Publisher | LSU |
| Source Sets | Louisiana State University |
| Language | English |
| Detected Language | English |
| Type | text |
| Format | application/pdf |
| Source | http://etd.lsu.edu/docs/available/etd-03242011-154544/ |
| Rights | unrestricted, I hereby certify that, if appropriate, I have obtained and attached herein a written permission statement from the owner(s) of each third party copyrighted matter to be included in my thesis, dissertation, or project report, allowing distribution as specified below. I certify that the version I submitted is the same as that approved by my advisory committee. I hereby grant to LSU or its agents the non-exclusive license to archive and make accessible, under the conditions specified below and in appropriate University policies, my thesis, dissertation, or project report in whole or in part in all forms of media, now or hereafter known. I retain all other ownership rights to the copyright of the thesis, dissertation or project report. I also retain the right to use in future works (such as articles or books) all or part of this thesis, dissertation, or project report. |
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