Raising the ghosts of justice: Staging time and the memory of Empire in The Trial of Governor Eyre

I examine the staging of time, justice and performance in The Trial of Governor Eyre, investigating what this site-specific performance reveals about the experience of time in the context of colonial violence. In doing so, I show that the work’s discourse on temporality reflects a vital sense of performativity within an Afro-diasporic context. The work’s use of temporality, besides reflecting a cultural adaptation, allows for a remoulding of forms, coupling law and theatre in confronting Eyre’s mass executions of 1865. This remoulding of forms (law as theatre, theatre as law) provides a potential for postcolonial witnessing not available when either performance protocol is used on its own. Using Blazevic’s and Cale Feldman’s concept of ‘misperformance’, I argue that this play-trial arises out of a Benjaminian sense of historicity, providing an experience of inchoate justice that finds fulfilment in the present. The Trial of Governor Eyre points, more broadly, to a new ‘problem-space’ in African diaspora political theory, where resistance against colonial structures of oppression is increasingly mounted on the ground of justice itself and through which the legal apparatuses of colonialism become a site of critical memory. Through the play’s deployment of ritual and its plastic moulding of time, 1865 is enlisted as a key historical conjuncture for thinking through the cultural disenchantment of race, but also of the formalist, creative resources that can be mobilised for reimagining humanness in the contemporary moment