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Austerity and the public role of dra...

Merriman, Victor.

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Austerity and the public role of drama = performing lives-in-common /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Austerity and the public role of drama/ by Victor Merriman.
其他題名:	performing lives-in-common /
作者:	Merriman, Victor.
出版者:	Cham :Springer International Publishing : : 2019.,
面頁冊數:	x, 175 p. :ill., digital ;24 cm.
內容註:	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.
Contained By:	Springer eBooks
標題:	Theater and society. -
電子資源:	https://doi.org/10.1007/978-3-030-03260-9
ISBN:	9783030032609

Austerity and the public role of drama = performing lives-in-common /
Merriman, Victor.

Austerity and the public role of dramaperforming lives-in-common /[electronic resource] :by Victor Merriman. - Cham :Springer International Publishing :2019. - x, 175 p. :ill., digital ;24 cm.

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.

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.

ISBN: 9783030032609

Standard No.: 10.1007/978-3-030-03260-9doiSubjects--Topical Terms:

619070
Theater and society.

LC Class. No.: PN2049 / .M47 2019

Dewey Class. No.: 306.484

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505 0 $a 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.
520 $a 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.
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