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Study Guide: Chimerica
Compiled and written by Angela Broadbent, Education and Community Engagement Manager
with content from Canadian Stage
Lucy Kirkwood’s Chimerica is an academic colossus. Students you will learn about economics, history,
human rights, photojournalism, cyber espionage, and globalization alongside the compelling personal
narratives. Kirkwood delves deeply into themes that connect with studies in English, Social Studies,
History, Art, and, of course, Drama. A study guide can only scratch the surface. To go further, make use
of the links throughout the document and the additional resources section.
This study guide was compiled by the Royal Manitoba Theatre Centre for the production of Chimerica.
Several sections have been sourced with permission from our co-producers, Canadian Stage.
Contents
THEATRE ETIQUETTE ..................................................................................................................................... 3
CHARACTERS ................................................................................................................................................. 4
ABOUT THE PLAY........................................................................................................................................... 5
ABOUT THE PLAYWRIGHT – LUCY KIRKWOOD ............................................................................................. 5
HISTORICAL CONTEXT ................................................................................................................................... 6
China in the 20th Century ......................................................................................................................... 6
Economic Reform & Chinese-American Relations: ................................................................................... 7
TIANANMEN SQUARE PROTESTS .................................................................................................................. 7
SOCIAL CONTEXT ........................................................................................................................................... 8
Photojournalism........................................................................................................................................ 8
Pollution in China .................................................................................................................................... 11
East vs. West in Chimerica ...................................................................................................................... 12
CENSORSHIP IN CHINA ................................................................................................................................ 13
THE MANY IMAGES OF THE TANK MAN ..................................................................................................... 14
ADDITIONAL ONLINE RESOURCES ............................................................................................................... 17
CLASSROOM ACTIVITIES.............................................................................................................................. 18
The Power of a Photograph .................................................................................................................... 18
Theatre in Review ................................................................................................................................... 20
CURRICULUM CONNECTIONS ..................................................................................................................... 20
REFERENCES (alphabetically) ...................................................................................................................... 22
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THEATRE ETIQUETTE
“The theater is so endlessly fascinating because it's so accidental. It's so much like life.” – Arthur Miller
Arrive Early: Latecomers may not be admitted to a performance. Please ensure you arrive with enough
time to find your seat before the performance starts.
Cell Phones and Other Electronic Devices: Please TURN OFF your cell phones/iPods/gaming
systems/cameras. We have seen an increase in texting, surfing, and gaming during performances, which
is very distracting for the performers and other audience members. The use of cameras and recording
devices is strictly prohibited.
Talking During the Performance: You can be heard (even when whispering!) by the actors onstage and
the audience around you. Disruptive patrons will be removed from the theatre. Please wait to share
your thoughts and opinions with others until after the performance.
Food/Drinks: Food and hot drinks are not allowed in the theatre. Where there is an intermission,
concessions may be open for purchase of snacks and drinks. There is complimentary water in the lobby.
Dress: There is no dress code at the Royal Manitoba Theatre Centre, but we respectfully request that
patrons refrain from wearing hats in the theatre. We also strive to be a scent-free environment, and
thank all patrons for their cooperation.
Leaving During the Performance: If an audience member leaves the theatre during a performance, they
will be readmitted at the discretion of our Front of House staff. Should they be readmitted, they will not
be ushered back to their original seat, but placed in a vacant seat at the back of the auditorium.
Being Asked to Leave: The theatre staff has, and will exercise, the right to ask any member of the
audience to leave the performance if that person is being disruptive. Inappropriate and disruptive
behaviour includes, but is not limited to: talking, using electronic devices, cameras, laser pointers, or
other light- or sound-emitting devices, and deliberately interfering with an actor or the performance
(tripping, throwing items on or near the stage, etc.).
Talkbacks: All Tuesday evening performances and final matinees at MTC feature a talkback with
members of the cast following the show. While watching the performance, make a mental note of
questions to ask the actors. Questions can be about the story, the interpretation, life in the theatre, etc.
Enjoy the show: Laugh, applaud, cheer and respond to the performance appropriately. Make sure to
thank all the artists for their hard work with applause during the curtain call.
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CHARACTERS
Joe Shofield
A veteran photojournalist and
the central protagonist. Joe’s
career was blessed after he
took the famous “Tank Man’
photo at Tiananmen Square
in 1989.
Doreen
Frank’s assistant
Paul Kramer
Beijing correspondent for
The Herald in 1989
Pengsi
Chinese, living in NYC
Frank Hadley
Joe’s editor
Liuli
Zhang Lin’s fiancé, killed
during Tiananmen protests
Ming Xiaoli
Zhang Lin’s neighbour who
suffers from “Beijing lung”
Maria Dubiecki
A Democrat senator in her
fifties
Kate
A British reporter at
Tiananmen Square
David Barker
Maria’s legislative assistant in
his Twenties
Deng
Young Chinese
businesswoman
Mary Chang
Chinese girl living in New
York, stripper, fired from job
in China for accepting an ad
related to Tiananmen
protests
Peter Rourke
CEO of Mytel computer
systems, a US company with
an office in Beijing, lives in
Silicon Valley
Mel Stanwyck
Joe’s journalist partner
Tessa Kendrick
An English market researcher,
and Joe’s love interest.
Zhang Lin
Joe’s main contact in China,
Zhang is an ESL teacher who
protests Beijing pollution.
Herb
American tourist from
Boston, Barb’s husband
Barb
American tourist from
Boston, Herb’s wife
Zhang Wei
Zhang Lin’s brother, Benny’s
father
Michelle
An Asian-American NYPD cop
Officer Hyte
Michelle’s partner
Jennifer Lee
Feng Meihui’s daughter
Feng Meihui
Chinese businesswoman
living in NYC, put memorial
ads in Beijing Newspaper
Dawn
Peter’s secretary
Judy
Mytel’s lawyer
Benny
Zhang Lin’s nephew
WE WANT TO HEAR FROM YOU!
After the performance, process and engage with what you saw through classroom discussions, by trying our
suggested classroom activities, or by writing us a letter. We love hearing from student groups!
E: [email protected]
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ABOUT THE PLAY
The day after hundreds of students are massacred in Tiananmen Square in 1989, rookie journalist Joe
Schofield snaps a photo of a lone protestor confronting a tank, a photo that becomes one of the most
iconic images of the 20th century. Twenty years later, Joe receives a tip-off that the Tank Man might be
alive, launching him on a thrilling quest that threatens to jeopardize his career, his relationships and his
personal ethics as he searches for the truth.
REVIEWS FROM OTHER PRODUCTIONS
Chimerica in the West End: blistering, explosive, essential theatre - Metro UK
'One of the best new plays of the year' - The Telegraph
ABOUT THE PLAYWRIGHT – LUCY KIRKWOOD
From Study Guide: Chimerica prepared by Canadian Stage (Schachter, et. al.):
"I generally think of myself as a smiley, chuckly person," she giggles. "But I guess I've got quite a dark
sense of humour." –Lucy Kirkwood (quoted in Jones)
"My problem is always I've got so much to say," she admits. "Writing is like a dog I'm trying to wash in a
bath. You let it go for a bit then you need to rein it back in." –Lucy Kirkwood (quoted in Jones)
From Clean Break website:
Lucy is an Olivier-award winning playwright (Chimerica 2014) and was resident playwright at Clean Break
for two years, during which she developed her play it felt empty when the heart went at first but it is
alright now, produced by Clean Break at the Arcola Theatre. The play was nominated for an Evening
Standard Award Best Newcomer award, the Susan Smith Blackburn award, and made Lucy joint winner
of the John Whiting Award 2010. Her stage adaptation of Beauty and the Beast co-devised with Katie
Mitchell was performed at the National Theatre in 2010/11 and nominated for an Olivier Award, and
Small Hours, co-written with Ed Hime, opened at the Hampstead Theatre in January 2011, directed by
Katie Mitchell. Other works include Tinderbox (Bush), Hedda (Gate), NSFW (Royal Court), Hansel and
Gretel (National Theatre) and Chimerica (Almeida). Lucy has written for Skins (Company Pictures) and is
developing an original TV series for Kudos and a screenplay for Film4 / Ruby Films. 6
For more information on Lucy Kirkwood, see this article by Alice Jones published in The Independent:
http://www.independent.co.uk/arts-entertainment/theatre-dance/features/lucy-kirkwood-britainsbrightest-young-stage-writer-1809848.html
For more information about http://www.timeout.com/london/theatre/lucy-kirkwood-interview-i-worrya-lot-about-the-things-i-write
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HISTORICAL CONTEXT
China in the 20th Century
Throughout the 20th Century China
underwent massive social, military, and
economic upheaval. The last century saw the
fall of a 300 year old empire, civil war and the
Communist Revolution, and finally China’s
rise to global economic and military
superpower.
A French map of the Chinese Empire [together with] Japan, in the
year 1833, by Conrad Malte-Brun [born and also known as Malthe
Conrad Bruun ], published in the year 1837 by [ Furne et Cie and
Aimé-André, Paris]
From 1644 to 1911, the Qing Dynasty
Emperors ruled in China. During this period
China reached its territorial zenith, acquiring
Tibet, Mongolia and present-day Xinjiang. Following a long period of decline, the empire was
overthrown in military coup which saw the abdication of the last Chinese emperor, Puyi, then only six
years old. The short-lived Republic of China faced instability under threats by warlords, military
aggression by Japan, and the rise of the Communist Party of China.
”The Chinese People's Liberation Army is the great school
of Mao Zedong Thought,” 1969. A poster from the Cultural
Revolution, featuring an image of Chairman Mao, and
published by the government of the People's Republic of
China.
In 1949, Mao Zedong led the Communist Party to
victory over the Republic, who retreated from the
mainland to Taiwan. Under Mao, China underwent
massive political, social, and economic upheaval.
The Great Leap Forward, an attempt to modernize
the Chinese economy by transforming it from an
agrarian system through rapid industrialization and
collectivization, resulted in the starvation of tens of
millions. In an attempt to restore confidence and
revolutionary spirit, Mao initiated the Cultural
Revolution in 1966. The Cultural Revolution sought
to preserve legitimate communist beliefs deemed to
be under threat by traditional bourgeois customs
and ideas. A mass propaganda campaign succeeded
in re-educating the population and propelling Mao’s
personality cult to new heights.
Mao’s death in 1976 marked a shift in power and wide-sweeping reform. Diplomatic relations were
established with the United States in 1979 – the same year in which the One Child Policy took effect.
The 1980’s were a critical time in China’s relations with the west, as the Chinese economy moved away
from communism towards capitalism and became open to foreign investment. By 1992, the
International Monetary Fund recognized China’s economy as the third-largest in the world.
While economic reform was widespread, corruption social disenfranchisement were rampant. Student
demonstrations began in 1986 under the leadership of Fang Lizhi, an astrophysics professor. Prodemocracy protests culminated in the Tiananmen Square protests of 1989.
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For a detailed timeline of Chinese history, visit http://www.bbc.com/news/world-asia-pacific-13017882
Economic Reform & Chinese-American Relations:
Visit The Council on Foreign Relations for a comprehensive timeline of Chinese-American relations.
With the establishment of the People’s Republic of China in 1945, the United States officially backed the
exiled Nationalist party in Taiwan as the legitimate government of China, setting the stage for decades
of limited diplomatic relations. Tensions escalated with the PRC’s invasion of Korea in 1950 and the
subsequent Korean War in which the United States supported South Korea against the communist
forces of the North.
During the 1960’s and 1970’s, a growing ideological rift between Beijing and Moscow led China to look
west. In 1979, under President Jimmy Carter, the United States formally accepted China’s ‘One-China’
policy, severing their relationship with Taiwan in favor of economic ties to the mainland. Since 1979,
China’s Open Door policy has sought to bring in Western knowledge and open the country to foreign
trade and investment.
Today, China is the world’s second-largest economy and is projected to surpass the United States to
become the largest by 2027. Together, China and America represent a whopping 35% of the world
economy. China is also the largest single holder of American foreign debt.
In 2007, professor and journalist Niall Ferguson and economist Moritz Schularick coined the term
‘Chimerica’ in an article for The Telegraph to describe the interdependence of the Chinese and America
and their dominance of the world economy. Their concerns over interdependence proved prescient in
the wake of the 2008 financial crisis, as described in their follow-up article for The Wallstreet Journal.
TESS. China is not the drunk girl at the frat party. She’s the business
major with an A-plus average, and really great hair. She’s in charge
of this brave new economic world, you bend to her or you die trying.
(Kirkwood 108)
TIANANMEN SQUARE PROTESTS
From Study Guide: Chimerica prepared by Canadian Stage (Schachter, et. al.):
A comprehensive timeline: http://www.pbs.org/wgbh/pages/frontline/tankman/cron/
A Photo Essay: Mother Jones, “Photos: Tiananmen Protesters Were Heartbreakingly Young,
Earnest, and Happy”, 2014
Tiananmen Square is a large city square in the centre of Beijing. It is named after the Tiananmen
gate located to the North, separating it from the Forbidden City. It is the site of the Tiananmen
Square protests of spring 1989, the largest pro-democracy demonstration in the history of China’s
communist regime. The student-led demonstrations gained widespread support among Beijing
residents, demanding freedom of the press, democracy, and dialogue with the Communist Party,
among other reforms.
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Throughout the demonstration, China's leaders were deeply divided over how to handle the unrest,
with one faction advocating peaceful negotiation and another demanding a crackdown. On June 3,
the Communist Party ordered the People’s Liberation Army (PLA) to clear the square by 6am on
June 4 using whatever means necessary. The protest ended on June 4 with the final, deadly assault
by the PLA, as they used rifles and tanks on the unarmed citizens.
In the week following the massacre, the government regained control of the square. On June 5, a
lone man carrying two shopping bags stood in front of tanks driving out of Tiananmen Square. Each
time the tank tried to go around him, the man blocked their path once again. This dance continued
for some time, until the man climbed onto the foremost tank to speak to the driver. After
descending from the tank and resuming his position blocking their path, he was whisked away by a
group of people. The identity of these individuals, as well as of the “Tank Man” himself, remains
unknown to this day. The iconic image of the Tank Man that was widely circulated in Western
media was captured by five photographers that day. Video footage was also captured by the
Australian Broadcasting Corporation and CNN.
SOCIAL CONTEXT
From Study Guide: Chimerica prepared by Canadian Stage (Schachter, et. al.):
Photojournalism
Through Chimerica and Joe’s quest to discover the fate of the Tank Man, Kirkwood poses many
questions about the craft of photojournalism and the ethical debates around it. Kirkwood prefaces her
script with the quote, “Images transfix. Images anaesthetise.” These words from Susan Sontag, author of
On Photography and Regarding the Pain of Others (resources Kirkwood credits in her Author’s Note),
succinctly contextualize the conversation.
In a brief history of photojournalism, Dillon Westbrook says “consumers depend upon photojournalists
to bring them the images that allow them to feel connected to far-away realities, and to be educated
about those realities” (Westbrook). Susan Sontag elaborates with the claim that “photographs reify.
They turn an event into something that one can possess” (Sontag). Westbrook and Sontag highlight that
photographs have the ability to transport viewers and have a subsequently unique impact on viewers
compared to written or oral reporting. Technology is to credit for the birth of photojournalism. The
creation of a portable and reliable 35 mm camera in 1925 provided an opportunity to see images of faraway places and events.
TESS. The Vietnam War wasn’t lost on the battlefields of Vietnam, it was
lost in the living rooms of America, right?
(Kirkwood 57)
Charles Cole, one of the photographers who captured a Tank Man photo in 1989, stated that “During
this time I’m thinking this guy is going to be killed any moment now, and if he is I just can’t miss this.
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This is something that he’s giving his life for”. He goes on to define that “it’s [his] responsibility to record
it as accurately as possible.”
According to Julianne H. Newton, a scholar and former photographer, “what good photojournalists do is
seek to understand humankind by understanding human life and showing it to other humans. Good
photojournalists seek to know themselves by knowing others” (Newton 88). Alex Danchev, essayist on
the subjects of art, war and terror, expands on this sentiment with the claim that “Photographs reshape
the space of appearance. They help us to recognize others – faraway others, in countries of which we
know little – and in the process to recognize ourselves” (Danchev). But what is the legacy of a
photograph?
TESS. I just, I can’t believe you took that. I had it on my wall when I was a
student, next to Che Guevara and the Stone Roses.
(Kirkwood 40)
Ethics of Photojournalism
“On one end of the ethical continuum, an idealized photojournalist visually captures history,
documenting moments and people for the world’s diary. On the other end of the ethical continuum, a
photojournalist is little more than a scavenger, a voyeur turning tragedy and victory into commodities
for sale” (Newton 88).
Within the sector of photojournalism there is a code of ethics that reins the practice.
From the Canadian Association of Journalist Ethics Guidelines:
 Photojournalists and videographers do not alter images or sound so that they mislead the
public. When we do alter or stage images, we label them clearly (as a photo illustration or a
staged video, for example).

We serve democracy and the public interest by reporting the truth. This sometimes conflicts
with various public and private interests, including those of sources, governments, advertisers
and, on occasion, with our duty and obligation to an employer.
From the Society of Professional Journalist Code of Ethics:
 Ethical journalism treats sources, subjects, colleagues and members of the public as human
beings deserving of respect.
 Journalists should . . . never deliberately distort facts or context, including visual information.
Clearly label illustrations and re-enactments.
 Show compassion for those who may be affected by news coverage. Use heightened sensitivity.
Select clauses from the National Press Photographers Association Code of Ethics include:
 Be accurate and comprehensive in the representation of subjects.
 Resist being manipulated by staged photo opportunities.
 Be complete and provide context when photographing or recording subjects.
 Avoid stereotyping individuals and groups.
 Recognize and work to avoid presenting one's own biases in the work.
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



Treat all subjects with respect and dignity. Give special consideration to vulnerable subjects and
compassion to victims of crime or tragedy. Intrude on private moments of grief only when the
public has an overriding and justifiable need to see.
While photographing subjects, do not intentionally contribute to, alter, or seek to alter or
influence events.
Editing should maintain the integrity of the photographic images' content and context. Do not
manipulate images or add or alter sound in any way that can mislead viewers or misrepresent
subjects.
Respect the integrity of the photographic moment.
The ethics of photojournalism are heavily debated. Issues of consent, context, and voyeurism are
commonly raised among photojournalists and critics. Alex Danchev discusses the intentions of
photographers, saying “they are witnesses. But they are not neutral. They have a point of view – they
are against forgetting” (Danchev).
JOE. Frank, this guy, he’s my age. I think I’m about to watch him get
shot. Silence. JOE picks up his camera. Starts taking pictures.
(Kirkwood 13-14)
“In the early days of newspaper journalism the photojournalist’s role was relatively straightforward.
Armed with a camera he captured a moment in time. . .The photojournalist emerged with a snippet of
reality, ready to show the truth to the public.
Today, the ethics of photojournalism goes far beyond the ethics of the newspaper photo. It includes the
millions of news-related images that appear on our televisions, cell phones, computer screens and other
multi-media devices. We are an image-saturated world” (Burkholder).
Kirkwood addresses this evolution head-on in Chimerica.
JOE. There are school-kids armed with iPhones who do my job way
better than me now. And it seems like, well to me anyway, it seems
like maybe photographs are like people. The more there are of them,
the less any individual one means.
(Kirkwood 58)
The ethics of photojournalism are further complicated by the number of parties associated with an
image: the subject of the photo, the photographer, the editor publishing the photo, and the viewer.
The impact of photojournalism on the individual is explored in Chimerica. Consider for instance how
Frank, the newspaper’s editor, selects what photographs are featured and how the stakes (fame,
monetary) associated with landing a prominent position in print media affect the photojournalist.
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JOE. You gonna give me a front page Frank?
FRANK. Yes Joey, I think three hundred Chinese people being gunned
down by their own government warrants a little more than a hundred
words on page six, don’t you?
(Kirkwood 13)
Consider the relationship between the photojournalist, often a tourist as in Joe’s case, and the subject of
the photograph; a person or situation that is often sensitive or traumatic in nature:
JOE. Yeah I know, only I saw it tooZHANG LIN. Yes, up in your hotel room, taking pictures. Behind your
camera, plane ticket in your pocket. I was there. Down there, in the
square.
(Kirkwood 25)
Photojournalist Don McCullin is known for his photographs of war and urban strife. He speaks of his
tactics to ensure he delivers the most respectful, honest, and dignified work he can: “I would look at the
person I was photographing and I would try and convey my disgust to them, you know, and I would try
to bring them to me in a trusting way” (Don McCullin quoted by Mackay). The impact of this
responsibility on the photojournalist is further illustrated by McCullin who said, “I’ve got a last chapter
of my life now and I want it to be enjoyable. I don’t want to persecuted by myself anymore, by my guilt,
cause I’ve had all that” (Don McCullin quoted by Mackay).
Julianne H. Newton notes that in the end, “intentionality becomes an issue. . . Does a photographer
intend to show the truth or deceive? Does an editor tend to convey the truth of an event or to use an
image to startle or draw a reader/viewer? Does a viewer engage an image with the conscious intent to
determine authenticity and respect the human framed within? Or does the viewer read the image
through the filters of uniformed, nonconscious prejudice, seeing only what she or he chooses to see?”
(Newton 89). Alex Danchev adds that “photographs may be documents, photographs may be
indictments. Depending on our engagement with them, they may also be instruments of the
imagination” (Danchev). A picture is worth 1,000 words, but who decides what those words are?
Pollution in China
One issue that Lucy Kirkwood incorporates is China’s extraordinary level of pollution. In Chimerica,
Zhang Lin, inspired partially by his neighbour’s deteriorating health, becomes an activist about this issue
and is even eventually detained as a result of his public criticism.
“Lin writes a blog entry about the pollution levels in the atmosphere, posting what he perceives as the
real levels rather than the party’s skewed results. In doing so, he knows that he will be reprimanded –
but he feels so strongly about it that he is willing to take the repercussions” (Resource Pack 14).
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The following article from The New York Times
offers a more in-depth understanding of the scope
of the problem as well as the Chinese government’s
efforts to deny the severity:
Outrage Grows Over Air Pollution and China’s
Response
By EDWARD WONG DEC. 6, 2011
http://www.nytimes.com/2011/12/07/world/asia/b
eijing-journal-anger-grows-over-air-pollution-inchina.html
UPDATE: On December 1, 2015, China declared the
first ever ‘Red Alert’ for air quality in Beijing. This socalled “Airpocalypse” combine with increasing public
pressure has forced the government to bring in new
measures and environmental laws to combat
pollution. China burns more coal than the rest of the
world combined.
CBC, Beijing red alert for smog has a silver lining, Dec
10, 2015
CBC, Slideshow, Beijing’s Pollution
Want to know what air quality is like in Beijing
today? Follow the @BeijingAir Twitter feed.
East vs. West in Chimerica
China has experienced a “transformation from third-world poverty to superpower status in less than 15
years. Kirkwood’s play examines this transformation, equating it to the discovery of a new country and
referencing an American equivalent:
JOE. Mel spoke with these women, they were earning like fifty dollars a month, working fifteenhour days, sleeping on the floor. . . I just, I felt so guiltyZHANG LIN. Yes you’re right, we all blame you too. I think I read a book once, about the
Mayflower, crossing the Atlantic. Apparently this was quite terrifying also. You’ve heard of this
ship?
JOE. Yes, Zhang Lin, I have heard of the Mayflower. But they’re not travelling to a whole new
countryZHANG LIN. Of course they are. It just occupies the same part of the atlas as the old one.
(Kirkwood 21)
Kirkwood expands on this idea of East versus West, contrasting the characters and their respective
countries in both industrial and cultural contexts. The play and its highly politicized and modernized
events show how different the East and West are while also examining how China and America are often
similar. There is indeed a marriage, a hybrid “Chimerica” in Kirkwood’s play, which exists both
industrially and culturally.
JOE. You should come to New York.
ZHANG LIN. What for? Starbucks? Cockroaches? I can get both of those here.
(Kirkwood 24)
Dr. Robin Pharoah, anthropologist and market research agent specializing in the Chinese market, says
“today, I am often asked by Western businesses: ‘When will these traditions finally die out?’ Their
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implication being: ‘When will the Chinese finally become like us?’” (Pharoah). Aligning with Martin
Jacques’ theory of “Western hubris”, Pharoah points out that the largest misconception is that China is
on its way to becoming America. His analysis mirrors that of the character Tess:
TESS. The road to the Chinese market is already well-trodden, and you know what? It’s littered
with the corpses of companies who blithely assumed that Chinese consumers would bite off their
hands for anything America wanted to hawk to them ...Because they believed China was looking
over the fence wanting to be America and nothing could be further from the truth.
(Kirkwood 107)
Pharoah says that while plenty of Western brands and trends have been adopted in China, the root of
Chinese culture itself has not changed: “What if, to those hi-tech Chinese consumers, Western brands
are not cultural Trojan horses, but instead a new set of toys with which to play old games?” In his theory
Pharoah identifies the root of the East/West dichotomy: Westerners assume that China’s embracing of
Western brands means their embracing of Western culture.
According to Pharoah, this is not the case. Western culture’s “new set of toys” provides a commercial
face-lift for China’s customs, not a cultural overhaul. Westerners in the meantime still seem certain that
China will in fact evolve to be more like them, causing self-inflicted anxiety about America’s industrial
and economic standing.
CENSORSHIP IN CHINA
Despite international condemnation of the 1989 Tiananmen Square massacre and internal unrest, the
Communist party maintained power. The government instituted a series of highly liberal economic
reforms while simultaneously cracking down on free speech. Indeed, Times reporter Zheng Wang, in an
article marketing the 25th anniversary of the massacre, said “The government’s budget for maintaining
social stability is higher than the defense budget. Compared with 25 years ago, today’s China has less
freedom of speech.”
To this day, mention of the Tiananmen Square massacre is not tolerated. Author Ma Jian, in an article
for The Guardian, describes returning to China for the 20th anniversary of Tiananmen to discover a
nation that has erased the event from public memory, and goes on to recount his personal memories of
the protest. In Chimerica, Joe finds a clue in the Chengdu Evening News when an advert “In memory of
the mothers who lost on 64” (code for June 4th, the day of the massacre) seemingly slips past the
censors. This may be inspired by reality; in 2007, three newspaper executives were fired from a paper in
Chengdu for publishing an editorial praising the mothers of Tiananmen victims. Read more about the
scandal here.
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FRANK. The girl on the advertising desk is 19 years old. She wasn’t born when Tiananmen
happened, most of her generation don’t know it happened, it’s been erased from the history books,
so when some lady calls up with a bunch of coded messages about one of the worst fucking
atrocities in her country’s history, the girl doesn’t think anything but ‘how long till lunch?’. That’s
the beauty of censorship.
(Kirkwood 49)
Censorship can be creative. On June 4, 2009, the 20th anniversary of the massacre, BBC reporter James
Reynold visited Tiananmen Square. While reporting he was swarmed by ordinary-looking ‘tourists’
carrying umbrellas who coordinated themselves to obscure his camera. Watch a clip here.
The Golden Shield Project (colloquially, The Great Firewall of China) is the Chinese government’s
overarching strategy to monitor and control the internet. The internet came to China in 1994 and was
welcomed as a tool to improve technology and increase competitiveness; however fears of foreign
ideological influence necessitated the development of technology to limit information access. The
Golden Shield was implemented in 2000.
The Great Firewall blocks site that are common in North America, including Facebook, and for a time,
Google. In 2002, researchers from Harvard University conducted a study investigating Google search
terms that resulted in blocked sites in China. You can view their results of their study here.
In Chimerica, Zhang Lin is arrested after posting his article about smog online, despite using an
anonymiser, a tool which is intended to mask identity on the internet. Since 2013, current Chinese
President Xi Jinping has enacted measures to ‘clean the internet,’ resulting in the arrests of 15,000
people in August 2015 for the crime of jeopardizing internet security.
THE MANY IMAGES OF THE TANK MAN
From Study Guide: Chimerica prepared by Canadian Stage (Schachter, et. al.):
From the Author’s Note in Chimerica:
“...the image of the Tank Man we are familiar with in fact exists in a number of forms in common
currency. There are at least six recognised versions, the play takes place in an imagined universe in
which there are seven. In reality, Jeff Widener’s is the most famous, and the one used, with
permission, in the publicity for the play.” (Kirkwood 7)
In June 2009, to mark the 20th anniversary of the Tank Man episode The New York Times published an indepth look at four known versions of the image all taken from the Beijing Hotel. The article offers
anecdotes from each photojournalist and discusses the images’ distinguishing characteristics. In
response to this article, a fifth photojournalist came forward presenting a photograph that was taken
from street level; offering a perspective that may provide even more context to the mysterious iconic
moment. A video of the Tank Man (available on Youtube here) was also brought to the publication’s
attention.
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The following is cited from Behind the Scenes: Tank Man of Tiananmen on The New York Times Lens
Blog. Read the full article here.
Photo by Charlie Cole
Charlie Cole was in Beijing on June 5, 1989 for
Newsweek magazine. His version of the moment is
tight — three stacked tanks, painted lines in the
road emphasizing the direction of the tanks, all
paths leading towards one man. The details are
clear and striking: the red star on the tank and the
bags held by the man, making it seem like his
protest was an afterthought on the way home from
work or from the market. Simple, striking, and
powerful.
“I think his action captured peoples’ hearts everywhere, and when the moment came, his character
defined the moment, rather than the moment defining him. He made the image. I was just one of the
photographers. And I felt honored to be there.” –Charles Cole
Photo by Stuart Franklin
Stuart Franklin’s photograph feels like a painting.
Mr. Franklin, a Magnum photographer on
assignment to Time magazine, was shooting from
the rooftop with Mr. Cole. He gives us the entire
scene. The lone figure’s small space in the frame
emphasizes what he’s up against — a burned bus
looms in the background, broken remains of the
previous night’s violent clashes. Shadows dominate
the left side, like storm clouds.
“The film was smuggled out in a packet of tea by a French student and delivered to the Magnum office in
Paris.” –Stuart Franklin
Photo by Jeff Widener
Jeff Widener framed his picture a little tighter,
similar to Mr. Cole’s, but with an additional tank in
the frame and a street light protruding mysteriously
from the bottom. Mr. Widener’s version, shot for
The Associated Press, was probably the most
circulated of the four. It was made from a lower
floor of the hotel, closest to the ground, and
captured a face-to-face meeting between the lone
man and the driver of the first tank.
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“Suddenly, some guy in a white shirt runs out in front and I said to Kurt/Kirk, ‘Damn it — that guy’s going
to screw up my composition.’ Kurt/Kirk shouted, ‘They are going to kill him!’ I focused my Nikon 400mm
5.6 ED IF lens and waited for the instant he would be shot. But he was not.” – Jeff Widener
Photo by Arthur Tsang Hin Wah
Arthur Tsang Hin Wah of Reuters was beaten
two nights earlier by students who mistook him
for a spy. His photograph of the tank man,
divided into thirds by two light poles, was taken
seconds before the others, as the tanks jostled
for position behind the lone man. The burned
bus looms heavy in Mr. Tsang’s version.
Later released: photo by Terril Jones
Terril Jones’ photograph surfaced after the other
versions were published in the aforementioned
blog post. The photographer posts the image
with a thorough account of his experience on
June 5, 1989 and explains his reasoning for
holding on to the image in an online article found
here.
“I took the photo on June 5, 1989, as a reporter
for The Associated Press covering the Tiananmen
Square protests and military crackdown on
protesters in Beijing. It’s a shot of the man who
had the famous confrontation with the line of
Chinese army tanks, a different angle of the well-known image that we’ve all seen of Man vs. Tank.”
“I realized that one of my photos had captured a different angle of that signature confrontation, well
before the tanks reached the defiant man.” – Terril Jones
DISCUSSION QUESTIONS:
Of the well-known ‘tank man’ photos, Kirkwood chose Jeff Widener’s image for Chimerica. Compare and
contrast the photos in this study guide – how do they differ? How do they make you feel? Would you have
made the same choice?
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ADDITIONAL ONLINE RESOURCES
Headlong Theatre (London, England) produced Chimerica in 2013. Visit their website and explore
various themes from the play: http://headlong.co.uk/work/chimerica/explore/
The BBC has developed an interactive map of Tiananmen Square which details where major events took
place – including the Tank Man photo: http://news.bbc.co.uk/2/hi/asia-pacific/8070177.stm
BBC archival footage can be viewed online (caution – disturbing content)
https://www.youtube.com/watch?v=kMKvxJ-Js3A
Mother Jones published a photographic essay showing student protestors before and after the military
crackdown: http://www.motherjones.com/politics/2014/06/photos-tiananmen-square-chinesestudents-tanks
You can read a translation of the Chinese government’s official statement about the massacre from The
People’s Daily (a state run news outlet) here: http://www.tsquare.tv/chronology/April26ed.html
PBS Frontline has a comprehensive website dedicated to the Tank Man with many resources, including
articles and videos: http://www.pbs.org/wgbh/pages/frontline/tankman/
You can watch the full video of their documentary on the Tiananmen Square and the Tank Man here:
http://www.pbs.org/wgbh/pages/frontline/tankman/view/
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CLASSROOM ACTIVITIES
The Power of a Photograph
PART 1: THE OTHER STORIES OF TIANANMEN
The Tank Man photo is the most iconic image the western world associates with Tiananmen Square, but
one image does not tell the entire story.
Murrmann, Mark & James West, “Photos: Tiananmen Protesters Were Heartbreakingly Young, Earnest,
and Happy,” Mother Jones, June 4, 2015 http://www.motherjones.com/politics/2014/06/photostiananmen-square-chinese-students-tanks
ACTIVITY: Examine the photographs in the Mother Jones article above and discuss their
significance as historical documents by determining their origin, purpose, value, and limitations.
The following chart includes sample questions to begin the conversation:
ORIGIN
 Who took the photograph? Who did
the photographer work for?
 When was the photographer taken?
 Is it a primary source or has it been
reproduced?
PURPOSE
 What was the intended use of the
photograph? For example, it could be
personal, artistic, or journalistic.
 Who was the intended audience?
VALUE
 What historical value does this
photograph have?
 What can it tell us about the event?
 What do they tell you about the
people depicted?
LIMITATIONS
 Could the photograph be posed?
 If it is not a primary source, is the
reproduction biased?
 Can the content be verified by other
sources?
 Is the photograph controversial?
Why?
As you examine the photographs, consider the standards for photojournalistic ethics (see page 8 of this
study guide). Do these comply with the ethical standards as stated? Are they truthful, or do they distort
the narrative? Can you detect any bias?
PART 2: CANADA & THE COMPORARY WORLD - ORIGIN, PURPOSE, VALUE, LIMITATIONS, & ETHICS
Photographs have been a powerful in Canadian history. A single photo can define how society
views an event or mobilize a nation.
ACTIVITY: Use the techniques from Part 1 to discuss iconic photographs from history and
current events. Have students research a particular photograph and present to the class.
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For examples of significant war photography, see this article (caution – some images are
disturbing).
For Canadian examples, consider this retrospective from the Huffington Post. You may also wish
to use this example:
1990 – The Oka Crisis: Freelance photographer Shaney Komulainen snaps a photograph of a
young Canadian soldier in confrontation with an aboriginal protestor. As CBC’s Unreserved
discusses in an interview with Komulainen on the 25th anniversary of the crisis, the photograph
is controversial.
ACTIVITY: Read the CBC article and watch the archival video (caution: strong language in
the video). Use the techniques from Part 1 to discuss the origin, purpose, value,
limitations, and ethics of Komulainen’s photograph. How was it received? Why is it
controversial?
Discussion Questions:
 How has the proliferation of camera phones and social media changed journalism?
 Would an event like the Tiananmen Massacre be different if it took place today?
 Where is the line between journalism and propaganda?
PART 3: WHY A PLAY?
Apply your skills in determining origin, purpose, value, and limitations to the play Chimerica by Lucy
Kirkwood. Is the play useful as a historic resource? What are the limitations? How much of it do you
think is fictionalized?
ACTIVITY: In small groups, have students consider the photographs of Tiananmen Square
protestors from Part 1 or the photographs they researched in Part 2, and imagine what took
place just before and after the photograph was taken. Have the students write a short scene
depicting the 5 minutes just before, or just after, the photograph was taken as they imagine it.
Have them perform their scene for the class.
Consider the following elements:
 Who are the people in the photograph, and how are they related to one another?
 What does body language tell you about the characters in the photograph?
 What is the time period and social context?
Discussion Questions:
 What type of research do you think Kirkwood did in writing Chimerica?
 Are there ethical concerns in writing a play about an event like the Tiananmen Square
massacre? Why? Did you encounter ethical concerns when writing and performing your scenes?
 As a playwright, how much can a single photograph tell you about a story?
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Theatre in Review
Discussion Questions: First Impressions of Chimerica





What poetic devices were used in the play? Were these devises effective? How did they make
you feel?
Consider the many ethical challenges faced by characters in Chimerica. Were any of the
characters ‘heroes’ in the traditional sense?
Kirkwood opens her play with the quote “Images transfix. Images anaesthetise” (Susan Sontag).
What do you think this quote means?
Discuss the use of lighting and sound effects in the play. Did the use of light and sound enhance
the experience?
Which character was most effectively portrayed? What methods did the actor use to portray
their character? Consider their voice, body language, gesture, and so on.
ACTIVITY: Have students write a review of Chimerica. They should consider the following elements: plot,
characters, themes, set, and costumes.
ACTIVITY: Have students write a character analysis for one of the major characters in Chimerica.
ACTIVITY: Watch the PBS Frontline documentary on the Tank Man. Compare and contrast the
documentary with Kirkwood’s Chimerica.
CURRICULUM CONNECTIONS
DRAMA
Connecting: The learner develops
understandings about the
significance of the dramatic arts by
making connections to various
times, places, social groups, and
cultures.
DR C-1: The learner develops understandings
about people and practices in the dramatic arts.
Responding: The learner uses
critical reflection to inform
drama/theatre learning and to
develop agency and identity.
DR–R1:The learner generates initial reactions to
drama/theatre experiences.
DR C-2: The learner develops understandings about the
influence and impact of the dramatic arts
DR C-3: The learner develops understandings about the
roles, purposes, and meanings of the dramatic arts
DR–R2:The learner critically observes and describes
drama/theatre experiences
DR–R3: The learner analyzes and interprets drama/theatre
experiences.
DR–R4
The learner applies new understandings about
drama/theatre to construct identity and to act in
transformative ways.
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GLO 2: Comprehend and respond
personally and critically to oral,
print, and other media texts
ENGLISH
GLO 5: Celebrate and Build
Community
Experience Various Texts (2.2.1) Experience texts from
a variety of forms and genres and cultural traditions;
explain various interpretations of the same text.
Connect Self, Texts, and Culture(2.2.2) Examine how
personal experiences, community traditions, and
Canadian perspectives are presented in oral, literary,
and media texts.
Appreciate the Artistry of Texts (2.2.3) Discuss how
word choice and supporting details in oral, literary, and
media texts [including books, drama, and oral
presentations] affect purpose and audience.
Relate Texts to Culture(5.2.2) Explain ways in which
oral, literary, and media texts reflect topics and themes
in life.
Appreciate Diversity (5.2.3) Reflect on ways in which
the choices and motives of individuals encountered in
oral, literary, and media texts provide insight into those
of self and others; discuss personal participation and
responsibilities in a variety of communities
Critical and Creative Thinking
Communication
Evaluate information from a variety of sources to
determine reliability, validity, authenticity, and
perspective. Include: student-gathered data
Analyze prejudice, racism, stereotyping, and other
forms of bias in the media and in other information
sources.
Debate differing points of view regarding an issue
9.3.1 Living in the Global Village
9-KG-037 Compare media portrayals of current issues.
Include: local, national, international sources.
S2-KG-039 Define the concept of globalization and identify
related social issues.
SOCIAL
STUDIES
S2.4.3 Globalization
11.5 Defining Contemporary
Canada
12: Citizenship and Sustainability
S2-VG-008 Be willing to consider the social and
environmental impacts of their consumer choices.
Students explore the strong ties between Canada and the
United Students investigate how Canada is affected by the
forces of globalization, and debate the role it should play in
international development, military engagements,
environmental issues, and global climate change.
Media
Consumerism
Global Wealth and Power
Social Justice and Human Rights
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12: Western Civilization
Major Movements and Events of the 19th Century
The Twentieth Century
Responding
VISUAL
ART
VA - R1: expressing first impressions (e.g., thoughts, feelings,
intuitions,
associations, questions, experiences, memories, stories,
connections to other disciplines) evoked by artworks and art
experiences as a starting point for critical analysis and
reflection
VA - R3: examining a range of interpretations to understand
that unique perspectives and lenses (e.g., social, cultural,
historical, political, disciplinary) affect interpretation and
appreciation
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