Austerity And The Public Role Of Drama

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.

Fifty Key Irish Plays charts the progression of modern Irish drama from Dion Boucicault’s entry on to the global stage of the Irish diaspora to the contemporary dramas created by the experiences of the New Irish. Each chapter provides a brief plot outline along with informed analysis and, alert to the cultural and critical context of each play, an account of the key roles that they played in the developing story of Irish drama. While the core of the collection is based on the critical canon, including work by J. M. Synge, Lady Gregory, Teresa Deevy, and Brian Friel, plays such as Tom Mac Intyre’s The Great Hunger and ANU Productions’ Laundry, which illuminate routes away from the mainstream, are also included. With a focus on the development of form as well as theme, the collection guides the reader to an informed overview of Irish theatre via succinct and insightful essays by an international team of academics. This invaluable collection will be of particular interest to undergraduate students of theatre and performance studies and to lay readers looking to expand their appreciation of Irish drama.

Technology in Irish Literature and Culture shows how such significant technologies—typewriters, gramophones, print, radio, television, computers—have influenced Irish literary practices and cultural production, while also examining how technology has been embraced as a theme in Irish writing. Once a largely rural and agrarian society, contemporary Ireland has embraced the communicative, performative and consumptive habits of a culture utterly reliant on the digital. This text plumbs the origins of the present moment, examining the longer history of literature's interactions with the technological and exploring how the transformative capacity of modern technology has been mediated throughout a diverse national canon. Comprising essays from some of the major figures of Irish literary and cultural studies, this volume offers a wide-ranging, comprehensive account of how Irish literature and culture have interacted with technology.

Bryan M. Evans, Stephen McBride, and their contributors delve further into the more practical, ground-level side of the austerity equation in Austerity: The Lived Experience. Economically, austerity policies cannot be seen to work in the way elite interests claim that they do. Rather than soften the blow of the economic and financial crisis of 2008 for ordinary citizens, policies of austerity slow growth and lead to increased inequality. While political consent for such policies may have been achieved, it was reached amidst significant levels of disaffection and strong opposition to the extremes of austerity. The authors build their analysis in three sections, looking alternatively at theoretical and ideological dimensions of the lived experience of austerity; how austerity plays out in various public sector occupations and policy domains; and the class dimensions of austerity. The result is a ground-breaking contribution to the study of austerity politics and policies.

British theatre underwent a vast transformation and expansion in the decades after World War II. This Companion explores the historical, political, and social contexts and conditions that not only allowed it to expand but, crucially, shaped it. Resisting a critical tendency to focus on plays alone, the collection expands understanding of British theatre by illuminating contexts such as funding, unionisation, devolution, immigration, and changes to legislation. Divided into four parts, it guides readers through changing attitudes to theatre-making (acting, directing, writing), theatre sectors (West End, subsidised, Fringe), theatre communities (audiences, Black theatre, queer theatre), and theatre's relationship to the state (government, infrastructure, nationhood). Supplemented by a valuable Chronology and Guide to Further Reading, it presents up-to-date approaches informed by critical race theory, queer studies, audience studies, and archival research to demonstrate important new ways of conceptualising post-war British theatre's history, practices and potential futures.

Welcome to "What is Wrong with Corporations Today," by Rove Monteux, the book that's more unwelcome than a whistleblower at a board meeting. This isn't just a book; it's a survival guide for navigating the corporate jungle, where the animals wear suits and the law of the jungle is "eat or be outsourced."

The 2009 European sovereign debt crisis and the EU’s policy response to it have prompted scholars to re-think whether diverse national models of capitalism can thrive within the European Union (EU). Are some national economic systems better suited to adapt to European integration than others, and if so, why? Contributions within this volume provide a qualified yes to these questions raised, concluding that the EU favors export-led growth models while it penalizes and discourages domestic consumption-oriented growth paths, particularly those that are financed by debt-accumulation. The book questions whether the EU is capable of integrating these diverse capitalist regimes. This volume adds a comparative capitalism perspective to EU integration scholarship in order to demonstrate that ever-closer union is not capable of accommodating diversity in national economic institutions. Chapters in this volume provide an innovative framework for understanding what factors related to European integration impede the economic and political integration of diverse European market economies. While recent comparative capitalism literature highlights that European monetary integration has favored export-led growth regimes, contributions in this volume outline that the EU’s prioritization of export-led growth over domestic-demand led growth is present in other facets of integration, including EU accession, financial integration, the free movement of people, fiscal governance and the Europe 2020 growth strategy. The chapters in this book were originally published as a special issue of New Political Economy.

Within this landmark collection, original voices from the field of drama provide rich analysis of a selection of the most exciting and remarkable plays and productions of the twenty-first century. But what makes the drama of the new millenium so distinctive? Which events, themes, shifts, and paradigms are marking its stages? Kaleidoscopic in scope, Twenty-First Century Drama: What Happens Now creates a broad, rigorously critical framework for approaching the drama of this period, including its forms, playwrights, companies, institutions, collaborative projects, and directors. The collection has a deliberately British bent, examining established playwrights – such as Churchill, Brenton, and Hare – alongside a new generation of writers – including Stephens, Prebble, Kirkwood, Bartlett, and Kelly. Simultaneously international in scope, it engages with significant new work from the US, Japan, India, Australia, and the Netherlands, to reflect a twenty-first century context that is fundamentally globalized. The volume’s central themes – the financial crisis, austerity, climate change, new forms of human being, migration, class, race and gender, cultural politics and issues of nationhood – are mediated through fresh, cutting-edge perspectives.