Theatrics of Control: 

Tamara of Spectacle, Festival, and Carnival

David Boje

November 28, 2000

Figure 1: Thailand protest of Tigers Woods (Source, Thai Labor Campaign) The group carried signs asking Tiger Woods to 'Be on par with worker's rights," and a large banner saying, "Tiger Woods: Stop puttering around. 

Looking at this photo, you know I am an activist opposed to sweatshops, global racism, corporate colonization and the human terror that sustains late global capitalism.  It is estimated that there are 70,000 workers producing Nike products in Thailand. Additionally, thousands of Thais are employed as migrant laborers at factories producing for Nike in Taiwan.  Thai workers receive only enough to survive each day. Why would Thai workers protest Tiger Woods?

Tiger Woods signed a sponsorship agreement in September with Nike for 5 years worth $100 million. With all winnings and endorsement earning this year, Tiger Woods will get $55,000 a day.  A Thai worker would have to work for 14,000 days or 38 years to receive the same amount. 

Fifty workers, labor rights activists and students staged an appeal to Tiger Woods to push Nike to improve factory conditions on Tuesday at the Shangri La hotel in Bangkok (November 14, 2000). According to the Thai Labor Campaign (November, 2000) "Nike spends nearly a billion dollars each year on advertising and sponsorship deals, such as the $440 million deal with Manchester United football club in England, announced last week." Here are some excerpts for a letter from Thai workers to Tiger Woods:

My theory and my practice are connected:  I refuse wear clothing that comes from factory houses of terror. To me it is all about gaining awareness of the Theatrics of Control that puts a Tiger Woods spectacle center stage to distract consumers and investors from the reality of day to day sweatshop life in Nike subcontract factories.

Figure Two: Theatrics of Resistance (Source, Thai Labor Campaign)

“We are calling on Tiger Woods to address the plight of Thai workers because he is a Nike spokesperson; this has nothing to do with the fact that he is part Thai,” said Junya Yimprasert, coordinator of the Thai Labour Campaign.

600,000 workers producing shoes and apparel for Nike in 700 factories, mostly in Asia. The workers in Figures 1 and 2 are engaged in carnivalesque protest against Nike to draw attention to factory conditions. Thai Iryo Garment Company is located at 31/9 Moo 2, Phaholyothin Road, Klonglaung Prathumthani since 1984. The Thai Iryo and Iryo Garment that have produced Nike products since 1984. 

On 15^th September 2000, the company announced of the closure of the factory and laid off 1,236 persons with a promise of compensation.  However, the workers have been waiting for compensation for over two months and there are still 1,016 workers waiting for a total of 41 million baht compensation (Source, Waraphan Chomsri, Chairwoman of Thai Iryo Garment Workers Union, November 14, 2000 email).

Recently, factories producing for Nike in Thailand have been shifting production to subcontractors and non-union facilities and to the provinces where wages and benefits are even lower.  For example, unionized workers formerly producing for Nike at the Thai Iryo Garment factory in Rangsit were laid off while Nike production shifted to the Garment Tech factory in Bangkok and VT Garment in Sathupradit. Many workers have been laid off from the unionized Thai Iryo Garment and Par Garment factories just to wind up producing the same products for subcontractors and receiving lower wages without legal protection (Thai Labour Campaign,  Coordinator:  Junya Yimprasert, November 14, 2000).

Workers are demanding union representation, which according to Nike's Code of Conduct, is allowed. Yet production has been shifted to non-unionized suppliers affiliated with the Iryo group to break the union organizing efforts. In its spectacle of advertising, press releases, and corporate web documents, Nike says it has very little control over the recurring wage cheating, force overtime, and sweatshop conditions.  Nike characterizes every incident as an exception, and promises to get it under control. Meanwhile, the nature of control happens back-state, as Nike puts the subcontractors in competition with one another for the lowest price. A price so low that subcontractors gouge wages to keep lucrative contracts. From the interview with Thai workers that worked for Pou Chen in Taiwan (that produce Nike shoes) they said that "We can tolerate the hardship, but we cannot stand the behavior of supervisors that are very cruel and like to yell and scold at us unreasonably". In the Theatrics of Nike control over media images, the scenes of worker exploitation do not make center stage.  Pou Chen describes a typical situation:

Many women workers also facing with urination pain “I was so much in pain and suffered from kidney infection because I always suppress my urination. I requested the supervisor to send me to the hospital, but I have to wait for nearly one hour until there were two more sick workers to fill the car before it can take off to the hospital. I have to stay in the hospital for six days without any visit from the company management. During my sick leave, the company paid only 50% of my wages. As soon as I returned to work the company forced me to work over-time until 11 PM or midnight every night, although I tried explaining to the supervisor that I need to rest but, however, the supervisor forced me to work and I had to work.”

There are three intermingling and interpenetrating discourses that comprise the theatrics of control on the global stage of late capitalism.  These are festival, carnival, and spectacle. Here are some beginning definitions.

• Spectacle can be total manipulation of meaning-making processes through theatrical events to serve the production of power and managerial needs to control and spin a good story in the face of bad news. Spectacle is faciality and a performance of proficiency.

• Festival rescripts the boundary between management and labor, customer and vendor; Dualities are blurred in festive theatric moments. A festival theatrics seeks to celebrate community, including affirmation of our living participation on the planet.  There is some spirituality here and there. 

• Carnival is a theatrics of rant and madness seeking repair to separation and alienation, a call for help from corporate power (or greed), a cry of distress and repression mixed with laughter and humorous exhibition meant to jolt power into awareness of its psychic organization. It is satire aimed to get the attention of power.

• For more extended treatment, see Definitions of Festival, Spectacle, and Carnival Theatrics. 

The purpose of this essay is to examine the theatrics of control. This is a look at the interplay of corporate spectacle, carnivals of protest, and the possibility of more festive theatrics.  Table One gives you defining characteristics in theory, but in practice, there is no pure form of spectacle, festival or carnival. Each creatively destructs and reconstructs and recombines with the others. Spectacle is good at cloaking the spectacle of terror in fun-filled festival and carnival masks.   

Spectacle, carnival, and festival are three theatrics of control on the global stage. The planet is being retro-fitted to be remade in the image of spectacle fantasy, and all that is left is the Tamara of global stages, and the networking of wandering players and spec-actors navigating among them. 

    Tamara - Tamara is experimental postmodern theater (Simard, 1984; Geis, 1993), a play in which wandering audiences divide and chase a dozen actors on a dozen simultaneous stages never able to see all the action at once (Boje, 1995). The Global Theater is a 'Tamara-land' of many stages, wandering audiences chasing characters from stage to stage, to trace the web of storylines. And off-stage there are characters that never seem to make it into the carefully scripted storylines, the animals in the slaughterhouse and the women and children in the apparel sweatshops.  There is violence that interpenetrates postindustrial production that somehow is absent from the Global Theater of postmodern designer-lifestyle culture.  And Tamara is a way to explain how this absence is sustained.

•  Tamara of many simultaneous stages

• Wandering audiences chase the storyline from stage to stage

• Consumption and production are separated

• The experience of consumption is detached from conditions of labor

• Working conditions becomes an invisible part of the context

• Spectacle images become the fabric for self-images

• When there is immersion into the consumption experience, the spectator becomes a self-reflective actor, no longer standing aloof and observing “reality out there”

• To participate in the spectacle is to become aware of where products come from and who makes them under what conditions, and to make more festive choices

• Global Theater disperses spectators to different stages with different themes of localized immersion.

• The spectator is never able to grasp the networking of all the stages and all the characters on and off the stage.

The theatrics of control is a Tamara-land of many stories and storylines, on festive, carnivalesque, and spectacle stages of production, distribution, and consumption with fragmenting audiences unaware of the illusions and mystifications of Global Theater.  It is an inquiry into the fragmented network of fragmented performances that result in most people never seeing all the stages or all the characters, or the interconnections among the stages.  Our inquiry into the theatrics of control examines who is absent front-stage, but sews all the costumes, and how the audience is an actor in the performance by their purchase and job choices.  For more on Tamara - see See Tamara - Journal of Critical Postmodern Organization Science.

PART I: Spectacle Theatrics of Control 

    Spectacle Control - To carry off mass destruction without resistance requires investment in a pedagogy of suppression, the erection of mass illusion, and this is what we see in the spectacle of phantasmal global capitalism.  According to Augusto Boal, the separation between the "actor" and the "spectator" in traditional theater is disempowering. The spectacle illusion depends upon fragmenting and mystifying the relation between consumer and producer. Through spectacle, the majority of the world who are primarily vegetarian or who live on poverty wages making the products (over) consumed by the First World remain hidden backstage, the conspicuously absent referents to global capitalism. On stage the spectacle presents the path to health and wealth as total and self-determined, and the belief that meat equals health and sweatshop is a necessary condition of economic development. This script is an addiction, entrenched in the attitudes of the spectators to Global Theater.

Figure 3: Carnival Meets Spectacle at Thailand protest of Tigers Woods (Source, Thai Labor Campaign)

    Figure 3 shows the Thai protests in Carnivalesque fashion greeting the media Spectacle of Lights, Camera, Action. As spectators to the global economy, do not follow our consumption habits, from the stage of the mall displays, backstage to the warehouse, along the truck routes to the manufacturer, to China, where most manufacturers are settling, to the shop floor where forced overtime and poverty wages and even a beating are part of the daily reality of production. Spectators are not able to confirm with their own eyes, hearing, touch, and smell the oppression of animals or women, and instead their attention is drawn to the thousands of daily advertisements that say the exploitation is not real.

    Spectacle is above all a legitimating narrative for social engineering and social control masking the violent (non-Ahimsa) acts of production and consumption. By spectacle I mean Guy Debord’s (1967) the Society of the Spectacle, the often violent and oppressive social control that masquerades as a celebration of betterment by recycling pseudo-reforms, false-desires, and selective sightings of progressive evolution, never devolution. By violent I mean the willful and careless and often unnecessary disruption or extinction of the life of another, including the life of non-human species. "The spectacle is the moment when the commodity has attained the total occupation of social life" (#42). "In particular the ways in which technical development becomes a substitute for natural development (#24, 36). "Last year, Americans, who make up only five percent of the world's population, used nearly a third of its resources and produced almost half of its hazardous waste" (Affluenza, 1997). The Situationaliste answer to the ideological social control of spectacle, is festival, by which we self-manage and self-produce our own production and consumption practices. In this way we redefine our needs and desires. Guy Debord (1967) sought to abolish (modern) spectacle, to smash the spectacle in avant-garde revelation, not to transform or reform it. 

    The Society of the Spectacle desensitizes its participants to violence, in what Whitmer (1997) calls the "Violence Mythos." The myth here is a self-sealed logic of violence legitimation. Violence is everywhere, in the streets, in schools, in the workplace, and in the home. Our children scream if we deny them a Nintendo kill-game of "realistic" violence. Beneath the spectacle illusion of progress through technology and gadget accumulation-equals-happiness lies the brutality and cruelty to animals, humans, and mother earth to sustain our life styles. Karl Marx took sweatshops from back-stage to on-stage  in chapter 10 of Das Kapital. Debord moved the mall and our consumption patterns on-stage as the ultimate hidden spectacle. Spectacle Theater is inherently oppressive, a cultural form of imperialism and colonization that contributes to the de-intellectualization of the native.

    In postmodern Organization Theater, the spectator becomes the center of spectacle, instead of a detached, passive and distant spectator, estranged from the theater of cruelty of late capitalism. The spectator is now the 'spec-actor' (in Augusto Boal's terms) deciphering acts of consumption, tracing foods and apparel through the house of spectacle mirrors to the hidden systems of their production. Nike, for example, says it keeps the location of some 700 factories a secret to protect its competitive advantage.  Yet, many activists contend that the factories are hidden for other reasons (Boje et al., 2000).  Blurring the line between audience and actor places spectator more directly into a self-reflective gaze at production and consumption to observe the violence to self and others. Hiding the factories prevents spectators from making emancipatory choices.

    The sexual and racial politics of manufacturing, the movement of resources from the women of Third World to the closets of the First World, is an Off-Off Broadway production (Saner, 1999). It is Off-Broadway, Street Theater that bound the diverse activist groups in combined protest against the WTO. The problem I would like to pose is as follows: there are fewer Global Theaters performing the kinds of theatrics that include the absent referents, that place the backstage performers center stage, so the spectators can see their reality and then pronounce the spectacle performances to be fallacious and mythic. In the nation by nation and race by race segregation of work tasks, spectators and workers, animals and consumers do not meet face to face. 

    Absent Referent - Behind every spectacle is an absence: the material reality of production whose place we see the theatric performance. The "absent referent" described by Adams (2000) is that which separates the spectator or consumer from production or worker by substituting a simulated referent. For example in the meat industry "the function of the absent referent is to keep our 'meat' separated from any idea that she or he was once an animal, keep the 'moo' or 'cluck' or 'baa' away from the meat, to keep something from being seen as having been someone" (Adams, 2000: 14). And it is not just the meat industry.

    In the theatrics of advertising garments, Nike, Gap, and Wal-Mart do not display the suffering lives of women working in sweatshops to sell their goods. These women, the producers of the apparel, are the absent referents, while on the global stage, Michael Jordan, Tiger Woods, and Kathie Lee Gifford, or some Barbie-model delivers a substitute performance.

    Once the production of goods and services is disconnected from the existence of people who are 'sweated' and animals who are 'killed' various free-floating images become the referent and substitute.  Who could stare into the faces of women and children making garments or foxes about to become coats, or the lamb on its way to the dinner table -- and not identify with what they are about to consume? The referent must have a suitable substitute, so the play can go on. In Global Theatrics, the absent referent and the substitute referent are ubiquitous, a necessary condition for the illusion to continue. In the language substitutes for reality, sweat-work becomes wage-work, and animal slaughter becomes gourmet-cuisine. The spectacle presents plays with many reversals. The worker is presented as the obstacle, the animal is presented as the source of life, the savage is presented as the cannibal, the white man is presented as the enlightened, and the feminine is presented as the weaker.

    Resisting Spectacle Theatrics of Control -  Only in the Theater of the Oppressed and Theater of the Absurd do we find resistance to the spectacle of late modern global capitalism. 

What is Theater of the Oppressed? (press here) The Theater of the Oppressed is a vast array of theater games, techniques and exercises designed to break down the barriers between "actors" and "spectators." In the late 1970s, Augusto Boal's groundbreaking text on theater theory, Theater of the Oppressed was published. there is a link between Postmodern Theatrics and Spectacle/Festival work. According to Boal, the separation between the "actor" and the "spectator" in traditional theater is disempowering. Spectacle Theater is inherently oppressive, a cultural form of imperialism that was contributing to the de-intellectualization of the native. 

What is Theater of the Absurd? The stultifying aspects of culture is the disavowal of absurdity, mutability, and chaos; the denial of the carnivalesque.  Eugène IONESCO (1912-1994) and many other Theater of the Absurd playwrights brought this out. As I watch spectacle I am seduced into waiting for corporate and political leaders to ride in on their white horses and announce that the sweatshops and toxic waste of global capitalism are now things of the past (Boje, 2000b). “In the service of [organizational] culture, man incessantly negates and transforms both nature and the animal in himself” (Dollimore, 1998: 250, addition mine). And for me the Theater of the Absurd is a way to approach transorganizational development. TD is about spectacle, one that presents us with heroic and harmony images of the progress that is being made in transforming the world into a global theater. 

For more on these topics, see 

• Boje, D. M. (2000a) Leadership and Society
• Boje, D. M. (2000b) Leadership and Theater of the Absurd 

PART II: Festive Theatrics of Control 

Festive Theatrics of Control - The festival had something to do with one’s conscious awareness, and with a focusing of that awareness. Festival is defined as expressing inner happiness in a context of social activity. The sexual and racial politics of manufacturing, the movement of resources from the women of Third World to the closets of the First World, is an Off-Off Broadway production (Saner, 1999). It is Off-Broadway, Street Theater that bound the diverse activist groups in combined protest against the WTO. The problem I would like to pose is as follows: there are fewer Global Theaters performing the kinds of theatrics that include the absent referents, that place the backstage performers center stage, so the spectators can see their reality and then pronounce the spectacle performances to be fallacious and mythic. In the nation by nation and race by race segregation of work tasks, spectators and workers, animals and consumers do not meet face to face. 

    Festival is the "very keynote of the life" I see beyond a critique of spectacle … Play is the ultimate principle of this festival, and the only rules it can recognize are to live without dead time and to enjoy without restraint" (Situationist Internationale, 1966: 14). Many cities and nations still conduct annual festivals, a tradition that goes back centuries in many parts of the world. Yet, the festivals have taken on thick outer spectacle shells, becoming gaudy consumption rituals, without much referentiality to what makes a festival festive in the first place. Most organizing attempts of festival find they are mutating due to their organizing situations into bizarre affairs.

    Ahimsa worldview encompasses the nonviolence philosophy of Gandhi, Chitrabhanu, Kumar, King Jr., and Leopold. It applies to issues such as gun violence, domestic violence, TV violence, animal violence and other aspects of a world nurtured in the spectacle of production and consumption. Festival is taking a critical look at commodity and production needs that are inherently artificial prescriptions for the happy person in the happy society. 

    Postmodern Organization Theater transforms the act, agency, scene, agency, and purpose of organization-as-theater into festive improvisations that disrupt the coherent theatrics of modern organizations. The slow food movement, a reaction to McDonaldization of fast food, is known an Italy as the Convivia movement. Convivia celebrates the festival of life.  To remove McDonalds from the center stage is to threaten the structure of capitalism and patriarchal culture. The meat and apparel industry is threatened by bringing production onto the center stage and horrified at removing the veil from eyes of the spectator. Acts of self-reflection on the manner in which products are made, the ingredients, and the conditions of labor and ecology must remain mysteries the spectator is unable to resolve. 

    Festival theatrics is rooted in Ahimsa, the practice of non-violence to all species. Festival is about choices of self-control. It provides an alternative to production and consumption practices rooted in violence to life. Festival is the self-management and self-design of our own leisure time and space, the realization of what we need to live and evolve as a species, with the most minimal harm to any other species. Festival is a way of doing business that respects people, communities, and the ecology. Festival balances stakeholder interests in the future generation (stakeholders include workers, managers, owners, investors, customers, local communities, future generations, and the ecosystem).

PART III: Carnival Theatrics of Control 

Carnival - Carnival is in dialogue with spectacle, making reference to its psychic excesses and shadow worlds masked by the univocality of spectacle. Indeed carnival is the mirror-stage to spectacle theatrics. Bakhtin tells us carnival was once the folk festival, the parody of power by the peasantariat. Only in carnival street theater do we glimpse the absent referent, forced off the main stages, invited back only in commercials.  Foucault makes the point that the resistance accompanies power and so carnival is the resistance side show.

Carnival in the Middle Ages brings to mind startling and outrageous images:

Medieval fools hatched from eggs, pigs roasting butchers on spits, dwarves wielding enemas, a 16th-century mock-religious diptych that opens to reveal a grimacing face and a naked bottom, horses riding in man-drawn carriages, women riding on cockerels, battles between pots and pans, a transvestite performance artist and a tattooed lady (Source http://www.hayward-gallery.org.uk/hg/sub_hg/nte/carnivalesque.html).

 Carnival is a theatrics of rant and madness seeking repair to separation and alienation, a call for help from corporate power, a cry of distress and repression mixed with laughter and humorous exhibition meant to jolt power into awareness of its psychic organization. As Mueller (2000) points out, carnival is very much a part of our life today. WTO Seattle being an example of a postmodern transorganizational theatrics, to parody the WTO approach to non-democratic globalization. “Carnival is all around us.  For as long as authority figures and norms of behavior have provided a rigid structure guiding human socialization there have been individuals who question this rigid structure” (Mueller, 2000). 

    Carnival is seeing a revival in the streets of Seattle, in the street theater of the WTO protests.  Some dressed as Sea Turtles to symbolize their cause, a few broke windows and did other violence, others did not know why they were protesting, but most of the 400,000 participants engaged in peaceful marches and demonstrations to critique transnational corporate power and express their sense of alienation. The media made its own spectacle interpretation of the Seattle events by focusing on the more violent enactments. Carnival can be an overflow valve that makes the controlling and monological and domination aspects of a totalizing spectacle of production and consumption, more tolerable. This is postmodern theatrics, a networking of disparate causes united in oppositions to the lack of democratic participation by the people in the corporate governance of the planet, including its labor and animals.  On the streets of Seattle we were spectators to the parody of transnational corporate power. I see the animal rights, ecology, vegetarian, anti-sweatshop, and convivial movements confronting spectacle theatrics with the theatrics of carnival. And the confrontation has some festive encounters, but far too few. Carnival has been tamed and domesticated; witness the designated protest areas, the prescriptions about what masks can not be worn, and where was the media coverage of the corp-zilla float? 

 Contemporary carnival is a polyphonic (many voiced) expression by those without power, sometimes sanctioned by those in power as a way to blow off steam. In modern times carnival theatrics has lost its contextual meaning, the performances of irony, satire, and parody no longer register the psychic organization.

PART IV:    Hybrid of Spectacle Carnival and Festival  - There is much contemporary spectacle mixed into the festival. Festival is in dialogue with carnival and spectacle, in theatrics that transcend the separation of nature and organization, seeking a joy of life beyond the duality of carnival and spectacle.

For example, The Colorado Renaissance Festival advertises that for a price you and fifty guests can be part of a Royal Wedding. For just $2,500 you can have the fairy tale wedding managed by expert wedding coordinators, complete with the melodious murmur of the King’s bagpiper, escorting you to the newly refurbished Canterbury Chapel where you will be a player in an Elizabethan Wedding Ceremony. A King and Queen wedding feast follow this wedding. Costuming and wet bar are extra. Is there something in Jain philosophy that can help us sort this out? 

    As festival veered away from carnival, we got the Disney theme park factory, where people stand in line to ride the assembly line carts and view the storyboards. Still there is fun there, but once must ignore the vinyl leaves and the absence of the satire and parody of power that was carnival. And the Renaissance Faire has become a Disney imitation, only festive in costume, but the theater is closed.

Curtain Call - Postmodern theater defuses the relation between characters and spectators and their anticipated theatrical roles (actors on the stage, a passive audience) by radically disrupting and violating spectator expectations of how scenes ensue (e.g. inviting spectators to participate and be actors). This playing with theatric expectations provokes spectators to explore the existential crisis behind the spectacle-mask and the carnival of resistance. 

This stage may provoke spectator self-reflection on parodies of spectacle-acts constructing fetish-as-realism and exaggerated-scenes of materiality equated as happiness. And it may provoke a discovery of festival enactments. 

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