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The Man in the Gallery with the Writing on His Face   47


                             conspiracy  in  the  scattershot  impossibility  of  the  variety  of  guilty  figures
                             which Al-Fayed claimed were involved. In doing so it positioned Al-Fayed as
                             one of the dramatis personae who was in an equivalent space to Loughrey or
                             Howsam, trapped by monomania into a lack of sufficient self-knowledge and
                             insight  to  allow  him  to  break  free  of  his  delusional  state  and  to  objectively
                             assess  the  nature  of  the  obsessions  gripping  him.  Such  media  commentary
                             asserted that this whole process was an unnecessary mis-reading of the facts
                             behind the deaths of these figures, that a combination of accidental factors had
                             created the circumstance and that the proliferation of narratives in its aftermath
                             was  a  performative  smokescreen.  In  this  analysis,  to  penetrate  that  screen
                             required merely a commonsensical calling to account of those parties foolish
                             enough to have allowed it to rise, whether these were the authorities who were
                             complicit in its ascent, or the lawyers, always the fat-cat focus of scepticism
                             and condemnation, who had let it mushroom. Social performance – including
                             Al-Fayed‘s loss of control as he swore at a reporter outside the court [Gregory
                             ii,  2008]  [McClatchey],  became  an  index  of  the  Inquest‘s  many  truths  and,
                             strangely perhaps, an unpredicted confirmation both of the importance of its
                             costly and lengthy process and of the significance of the proliferation in social
                             performance of the readings, perspectives and interpretations which surround
                             the establishing of a judicial grand narrative.


                                                       REFERENCES

                             Aston, E. & Savona, G.(1989). Theatre as Sign-System. London: Routledge.
                             Baker,  S.  (2007).  Transcripts  Coroner‘s  Inquests  into  the  Deaths  of  Diana,
                                 Princess  of  Wales  and  Mr  Dodi  Al-Fayed.  www.scottbaker-
                                 inquests.gov.uk/hearing_transcripts (last accessed 22-01-2009).
                             Bates, S. (2007). ―PG Wodehouse meets Bourne Conspiracy at the Diana and
                                Dodi    inquest.‖   www.guardian.co.uk/uk/2007/dec/13/   monarchy.
                                stephenbates. (Last accessed 22-1-2009).
                             Bates, S. (2008i). ―How Mansfield dominated the Diana Inquest.‖ Guardian.
                                April   8   2008.   www.guardian.co.uk/uk/2008/apr/08/diana.michael
                                mansfield?gusrc=rss&feeds=uknews.
                             Bates,  S.  (2008ii).  ―Devotees  return  to  resume  vigil  at  Diana  and  Dodi
                                                                th
                                Inquest.‖ The Guardian. Mon, Jan 7 , 2008. at www.guardian.co.uk/uk/
                                2008/jan/07/monarchy.uknews4 (Last accessed 22-01-2009).
                             Boal, A, (1979). The Theatre of the Oppressed, Pluto, London.
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