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Discussing crises through diverse examples, including the UK's National Theatre, public art installations, Occupy LSX, repatriation ceremonies and performances of the everyday, this book asks how performance captures and resists what is considered (politically, ideologically, culturally or socially) 'inside' or 'outside' Europe.
The Palgrave Handbook of Theatre and Migration provides a wide survey of theatre and performance practices related to the experience of global movements, both in historical and contemporary contexts. Given the largest number of people ever (over one hundred million) suffering from forced displacement today, much of the book centres around the topic of refuge and exile and the role of theatre in addressing these issues. The book is structured in six sections, the first of which is dedicated to the major theoretical concepts related to the field of theatre and migration including exile, refuge, displacement, asylum seeking, colonialism, human rights, globalization, and nomadism. The subsequent sections are devoted to several dozen case studies across various geographies and time periods that highlight, describe and analyse different theatre practices related to migration. The volume serves as a prestigious reference work to help theatre practitioners, students, scholars, and educators navigate the complex field of theatre and migration.
The Twenty-First Century Performance Reader combines extracts from over 70 international practitioners, companies, collectives and makers from the fields of Dance, Theatre, Music, Live and Performance Art, and Activism to form an essential sourcebook for students, researchers and practitioners. This is the follow-on text from The Twentieth-Century Performance Reader, which has been the key introductory text to all kinds of performance for over 20 years since it was first published in 1996. Contributions from new and emerging practitioners are placed alongside those of long-established individual artists and companies, representing the work of this century’s leading practitioners through the voices of over 140 individuals. The contributors in this volume reflect the diverse and eclectic culture of practices that now make up the expanded field of performance, and their stories, reflections and working processes collectively offer a snapshot of contemporary artistic concerns. Many of the pieces have been specially commissioned for this edition and comprise a range of written forms – scholarly, academic, creative, interviews, diary entries, autobiographical, polemical and visual. Ideal for university students and instructors, this volume’s structure and global span invites readers to compare and cross-reference significant approaches outside of the constraints and simplifications of genre, encouraging cross-disciplinary understandings. For those who engage with new, live and innovative approaches to performance and the interplay of radical ideas, The Twenty-First Century Performance Reader is invaluable.
The global financial crisis has demonstrated the impact and implications of late capitalism and its bedfellow, globalisation. In the European context, crisis is seen as a threat to the stability of the region, rather than a local or national concern. Post-2008, crisis is social and political, rather than merely financial, as Western countries witness the consequences of consumption, growth and profit. In this book, Tsilimpounidi demonstrates how sociologists must develop new approaches to examining rapid shifts in the social landscape, since crisis is not merely reflected in balance sheets, but is mediated through spectacular imagery of loss, deprivation and increased vectors of marginalisation. Providing focused and valuable insight into the pressing problems of those living in Greece in relation to the wider spheres of the nation and at the level of the European Union, Sociology of Crisis takes an approach that is firmly located within a critical sociological appeal to reflexivity. A timely engagement with the problem of crisis at a macro-level and in dialogue with the everyday experiences of crisis on a micro-level, this interdisciplinary title will appeal to both undergraduate and postgraduate students interested in sociology, social policy, geography, urban studies and research methods (social science).
What do we mean when we describe theatre as political today? How might theatre-makers' provocations for change need to be differently designed when addressing the precarious spectator-subject of twenty- first century neoliberalism? In this important study Liz Tomlin interrogates the influential theories of Jacques Rancière to propose a new framework of analysis through which contemporary political dramaturgies can be investigated. Drawing, in particular, on Ernesto Laclau and Chantal Mouffe, Lilie Chouliaraki and Judith Butler, Tomlin argues that the capacities of the contemporary and future spectator to be 'effected' or 'affected' by politically-engaged theatre need to be urgently re-evaluated. Central to this study is Tomlin's theorized figuration of the neoliberal spectator-subject as precarious, individualized and ironic, with a reduced capacity for empathy, agency and the ability to imagine better futures. This, in turn, leads to a predilection for a response to injustice that is driven by a concern for the feelings of the subject-self, rather than concern for the suffering other. These characteristics are argued to shape even those spectator-subjects towards the left of the political spectrum, thus necessitating a careful reconsideration of new and long-standing dramaturgies of political provocation. Dramaturgies examined include the ironic invitations of Made in China and Martin Crimp, the exploration of affect in Kieran Hurley's Heads Up, the new sincerity that characterizes the work of Andy Smith, the turn to the staging of the spectators' 'other' in Developing Artists' Queens of Syria and Chris Thorpe and Rachel Chavkin's Confirmation, and the community activism of Common Wealth's The Deal Versus the People.
Forms of Emotion analyses how drama, theatre and contemporary performance present emotion and its human and nonhuman diversity. This book explores the emotions, emotional feelings, mood, and affect, which make up a spectrum of ‘emotion’, to illuminate theatrical knowledge and practice and reflect the distinctions and debates in philosophy, neuroscience, psychology, and other disciplines. This study asserts that specific forms of emotion are intentionally unified in drama, theatre, and performance to convey meaning, counteract separation and subversively champion emotional freedom. The book progressively shows that the dramatic and theatrical representation of the nonhuman reveals how human dominance is offset by emotional connection with birds, animals, and the natural environment. This book will be of great interest to students and researchers interested in the emotions and affect in dramatic literature, theatre studies, performance studies, psychology, and philosophy as well as artists working with emotionally expressive performance.
This study offers a historicization of the 2010s in British theatre with a focus on the representation of systemic violence, exploring productions that engage with concerns of protest, climate crisis, neoliberalism, racism and gender-based violence. It offers a range of case studies from established and emergent playwrights such as Caryl Churchill, Martin McDonagh, Anders Lustgarten, Lucy Kirkwood, Ella Hickson, Jasmine Lee-Jones, debbie tucker green, Zinnie Harris, and Travis Alabanza. Productions of their work in the 2010s are analysed through a framework of cultural theory, philosophy, and theatre and performance studies that offer insightful conceptions of violence and performativity. Central to this book is the belief that theatre has the ability to depict issues of systemic violence in thoughtful and valuable ways, drawing on the medium's specific relations between creatives, texts, spectatorship and audiences to mindfully engage participants in the most pressing societal and cultural concerns of their time.
An increasing number of people today cross the Beitbridge border of South Africa and Zimbabwe. This comes with a corresponding growth of creative strategies that seek to aid the crossing of those people and goods that may lack the necessary documentation. Such ‘informal’ border crossings have come to define one of the important economic regions in Southern Africa, the post-1994 Limpopo Valley. This thesis approaches routine acts of facilitating undocumented border crossings as an everyday social politics with deep historical roots. By use of archival and ethnographic methods, the thesis examines the social history and embodied practices of a variety of actors who engage in undocumented border crossings. A particular focus is placed on the role of private transporters (omalayitsha), who represent an important link between an exclusionary and yet fragmentary migration regime and undocumented travellers. In three theoretical and four empirical chapters, and inspired by border studies as well as the critical realist approach in migration studies, the thesis connects border practice to irregular movement and cheap labour within a regional context defined, in part, by dispossession. Through thick interpretations of the lived experience of border practice, the study also connects such political economic processes (e.g. migrant irregularity, labour precarity and economic informality) to questions of social identity and migrant subjectivities. By situating the figure of the hyena at the centre of Southern African border struggles, the thesis invents an analytical concept that serves both an empirical and a theoretical task. Empirically, it enables a synthetic understanding of how everyday contestations around the possibility to work across the border for low-skill migrants have been interacting, through time, with broader processes of capital accumulation to partly shape the region’s migrant labour system. Theoretically, it shows how facilitation of undocumented border crossings calls for new sociological models that can account for processes that escape binary classification (as formal or informal, inclusive or exclusive, legal or illegal, ordered or disordered), thus contributing to a better understanding of the role of migration in the contemporary world. Allt fler människor korsar idag gränsen vid Beitbridge mellan Sydafrika och Zimbabwe. Samtidigt sker en motsvarande ökning av kreativa strategier som gör att även personer och varor som saknar rätt handlingar kan ta sig över gränsen. Dessa ‘informella’ gränsövergångar har kommit att definiera vad som efter 1994 blivit en av de viktigaste ekonomiska regionerna i södra Afrika, Limpopodalen. I denna avhandling betraktas rutinerna vid sådana oregistrerade gränsövergångar som en vardagens politik med djupa historiska rötter. Genom arkivstudier och etnografiska observationer undersöker avhandlingen en samhällshistoria och en mänsklig aktivitet där en rad aktörer är inblandade i en pågående, papperslös migration. En viktig roll i sammanhanget har omalayitsha, dvs. privata transportörer, som ofta är en viktig länk mellan de papperslösa resenärerna och den migrationsregim som å ena sidan stänger dem ute och å andra sidan är så fragmenterad att de tillåts passera igenom. I tre teoretiska och fyra empiriska kapitel, samt med ett angreppssätt hämtat från gränsstudier (border studies) och den kritiskt realistiska skolan inom migrationsstudier, syftar avhandlingen till att förstå gränsövergångens praktik i förhållande till den irreguljära mobilitet och det överskott på billig arbetskraft som sätter sin prägel på en region där många är fattiga och fördrivna. I avhandlingens djuptolkningar av migranternas levda erfarenhet vid gränsen förbinds i sin tur de politiskt-ekonomiska processerna (irreguljär migration, prekära arbetsvillkor och ekonomisk informalitet) med frågor om samhällelig identitet och migrantens subjektivitet. Avhandlingen ser hyenafiguren som central för förståelsen av de ’gränskamper’ (border struggles) som utkämpas i södra Afrika; med hyenan introduceras också ett analytiskt begrepp. Empiriskt sett möjliggör begreppet en syntetisk förståelse av hur vardagliga tvister och problem som präglar arbetsmigrantens försök att jobba på andra sidan gränsen över tid samverkar med större processer av kapitalackumulation, som delvis formar regionens migrantarbetarsystem. I teoretiskt avseende visar begreppet hur förhandlingarna som sker vid gränskontrollen klargör behovet av nya sociologiska modeller som kan redogöra för samhällsprocesser som undflyr varje binär klassificering (som formell eller informell, inkluderande eller exkluderande, legal eller illegal, ordnad eller oordnad), och på så vis bidrar det till en bättre förståelse av migrationens betydelse i dagens värld.
This book explores the ways that pre-existing ‘national’ works or ‘national theatre’ sites can offer a rich source of material for speaking to the contemporary moment because of the resonances or associations they offer of a different time, place, politics, or culture. Featuring a broad international scope, it offers a series of thought-provoking essays that explore how playwrights, directors, theatre-makers, and performance artists have re-staged or re-worked a classic national play, performance, theatrical form, or theatre space in order to engage with conceptions of and questions around the nation, nationalism, and national identity in the contemporary moment, opening up new ways of thinking about or problematizing questions around the nation and national identity. Chapters ask how productions engage with a particular moment in the national psyche in the context of internationalism and globalization, for example, as well as how productions explore the interconnectivity of nations, intercultural agendas, or cosmopolitanism. They also explore questions relating to the presence of migrants, exiles, or refugees, and the legacy of colonial histories and post-colonial subjectivities. The volume highlights how theatre and performance has the ability to contest and unsettle ideas of the nation and national identity through the use of various sites, stagings, and performance strategies, and how contemporary theatres have portrayed national agendas and characters at a time of intense cultural flux and repositioning.