Reframing the Iraq War Through Verbatim Theatre: A Lyotardian Postmodern Rendering of Jonathan Holmes’s Fallujah

Fallujah, by Jonathan Holmes (2007), is one of the archetypal examples of verbatim theatre, which addresses the truths of the Iraq War through dramatised eyewitness accounts and documentation reconstructions. Sketched in the Second Battle of Fallujah, the play reveals moral, political, and epistemological aspects of how modern warfare is presented. This article hinges on the postmodern theory of Jean-François Lyotard—especially the concepts of language games, paralogy, and the differend—to discuss the play Fallujah as a subversion of official grand narratives of the Iraq War. Through the use of testimonial intertextuality, irony and fragmentation, Holmes builds a multidimensional tableau of discourse contradictions in which truth is relative, and legitimacy is constantly deferred. The play turns into a meta-discursive critique of Western power dynamics, challenging the manner in which the knowledge is created, distributed, and twisted in the name of liberation and humanitarianism. Further, the article examines both dramaturgical and aesthetic techniques that lend truthfulness to Holmes’ concept of the verbatim approach as it dislocates the truth in relation to war and victimhood. The results help us comprehend the role of modern theatre in the reconstruction of the cultural memory and morality in the post-war era. The article concludes that Fallujah is a vivid example of postmodern theatrical resistance, an ethical and artistic response to commodity violence and the obliteration of lived suffering.