The new documentary by Milo Rau provides a platform for accountability on the battleground of the country of Congo.
As I type this and as you read these words, there is a piece of Congo somewhere nearby both of us. In fact, it is very likely that the device on which you’re reading my words contains a piece of Congo. Coltan, niobium and cassiterite are minerals essential to our 21st century lives because they are found in most electronic devices, and large quantities of them are buried in the Congolese ground.
But this richness is more of a curse than a blessing. For the last 20 years, the Congolese government, international corporations and local militias have turned the country into a battleground in which each of these sides benefited from the chaos, and no one was ever held responsible for it. Milo Rau’s latest political theatre project The Congo Tribunal has changed that, if only symbolically. For the first time in history, rebels, victims of massacres, mine representatives, government and opposition politicians came together in one room and listened to each other.
Rau’s previous political theatre projects tackled past events. For example, Die letzten Tage der Ceausescus was a project based on extensive historical research that reconstructed the Romanian revolution and re-enacted the Ceausescu couple’s trial using actors. The staging can blur the line between reality and fiction and in this way new meanings can be revealed. The Congo Tribunal is much different from his previous work, because the events it examines are ongoing, and they have never been put in the spotlight before. The term political theatre can be misleading in this context, as it implies staging and acting, and therefore a certain degree of manipulation in what happens in front of the camera. But except for the stage-like trial setting, nothing is staged in this film.
«Except for the stage-like trial setting, nothing is staged in this film.»