Deliberate Starvation: Hunger Artists in Kafka, Różewicz, and Sinking Ship

Abstract

How can a negative action, the decision to abstain from food, be enacted on stage? Examining hunger as a conscious choice to avoid food for spectacle rather than an unwanted need arising from lack of basic nourishment, this article illustrates several ways to make hunger visible in performance. Through the critical lens of actor-network theory (ANT), hunger’s apparently scarce dramatic action is shown to be framed by and networked with the performance of several other human and non-human actors. Case studies chart a process of “translation” of the typical hunger artist performance from its historical examples to its contemporary theatre-within-the-theatre adaptations.

In the West, self-inflicted starvation became a form of entertainment more distinctly in the late nineteenth century, when living skeletons and hunger artists were shown at circuses, fairs, and amusement parks, and produced income for themselves and their impresarios. Franz Kafka’s short story “Ein Hungerkünstler” (“A Hunger Artist,” 1922) looked back at the history of the profession, identifying the main components of the spectacle of hunger. Polish playwright Tadeusz Różewicz turned the short story into a play, Odejście głodomora (The Hunger Artist Departs, 1977), exploring the potential for dialogic interactions at the textual level and developing side-characters only implied by Kafka. By contrast, the contemporary NYC-based company Sinking Ship created A Hunger Artist (2017), an adaptation that expanded the short story’s theatricality around a single performer who plays multiple characters with the aid of all the resources of theatre, from puppets to audience members “enrolled” in the show.