By Sherrill E. Grace, Patrick Imbert, Tiffany Johnstone
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Extra resources for Bearing Witness: Perspectives on War and Peace from the Arts and Humanities
Can there be, in fact, ethical warplay? If warplay and warﬁghting are as closely interrelated as (for example) rehearsal and performance in theatre, then they share ethical commons. If so, is ethical warplay a social mechanism that legitimizes the noble values of ethical war, and delegitimizes insurgent and guerilla combat as unethical? 26 bearing witness combat privilege UNITED STATES OF AMERICA v. 11 The recurring critique of warplay is that because it does not result in death or injury, it can never fully represent war.
Play rehearses life, and like all rehearsals, never really ends; life must always need to be rehearsed. If this simple proposition is defensible, it suggests that playing war is a rehearsal for waging war and, as such, can be compared to other playful rehearsals in other areas of human life. But the pervasiveness of warplay raises ethical problems not encountered in other domains. Playing war is not like playing a Barbie tea party, because warplay activates fantasy desires that most people would claim to reject.
Neither was a soldier in any legal sense, but for both of them the idea of the soldier changed the course of their lives. They Warplay: Spectacle, Performance, and (Dis) Simulation of Combat 25 are connected in the domain of war as social behaviour, but they disturb the continuum of martial masculinity that proceeds from safe performance and spectacle to licenced (that is, lawful and uniformed) combat. They disturb the boundary between warplay and warﬁghting to expose its tenuous provisionality.
Bearing Witness: Perspectives on War and Peace from the Arts and Humanities by Sherrill E. Grace, Patrick Imbert, Tiffany Johnstone