Details
Austerity and the Public Role of Drama
Performing Lives-in-Common|
53,49 € |
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| Verlag: | Palgrave Pivot |
| Format: | |
| Veröffentl.: | 26.02.2019 |
| ISBN/EAN: | 9783030032609 |
| Sprache: | englisch |
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Beschreibungen
This book asks what, if any, public role drama might play under Project Austerity – an intensification phase of contemporary liberal political economy. It investigates the erosion of public life in liberal democracies, and critiques the attention economy of deficit culture, by which austerity erodes life-in-common in favour of narcissistic performances of life-in-public. It argues for a social order committed to human flourishing and deliberative democracy, as a counterweight to the political economy of austerity. It demonstrates, using examples from England, Ireland, Italy, and the USA, that drama and the academy pursue shared humane concerns; the one, a critical art form, the other, a social enabler of critical thought and progressive ideas. A need for dialogue with emergent forms of collective consciousness, new democratic practices and institutions, shapes a manifesto for critical performance, which invites universities and cultural workers to join other social actors in imagining and enabling ethical lives-in-common.<br>
<div>Part I Neo-liberalism’s Political and Moral Economic Project: The End of Public Life?.- 1. Introduction: Austerity and Drama’s Public Role.- 2. The Public World: an idea under pressure.- 3. Drama in Public Worlds. -Part II Performance, the Academy, and the Politics of Austerity.- 4. Drama Worlds As Public Worlds.- 5. Confronting Corporate Neo-liberalism in Jim Nolan’s Johnny I Hardly Knew Ye (2016).- 6. (Re)Public Worlds: Drama as Ethical Encounter.- 7. Beyond Deficit Culture: Conceptualising Collectives.- 8. Beyond Repair: A Critical Performance Manifesto. </div>
<b>Victor Merriman</b> is Professor of Critical Performance Studies at Edge Hill University, UK. He is author of <i>Because We Are Poor: Irish Theatre in the 1990s</i> (2011). He was a member of An Chomhairle Ealaíon/Arts Council of Ireland (1993-1998), and chaired the council’s Review of Theatre in Ireland (1995-1996).
This book asks what, if any, public role drama might play under Project Austerity – an intensification phase of contemporary liberal political economy. It investigates the erosion of public life in liberal democracies, and critiques the attention economy of deficit culture, by which austerity erodes life-in-common in favour of narcissistic performances of life-in-public. It argues for a social order committed to human flourishing and deliberative democracy, as a counterweight to the political economy of austerity. It demonstrates, using examples from England, Ireland, Italy, and the USA, that drama and the academy pursue shared humane concerns; the one, a critical art form, the other, a social enabler of critical thought and progressive ideas. A need for dialogue with emergent forms of collective consciousness, new democratic practices and institutions, shapes a manifesto for critical performance, which invites universities and cultural workers to join other social actors in imagining and enabling ethical lives-in-common.
<p>Takes a transnational approach that brings in performance and critical perspectives under-represented in theatre scholarship</p><p>Challenges received readings of classical and radical scripts and performances</p><p>Argues for social science to take account of readings of performance tropes and conventions developed by performance theorists</p>
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