Titlebook: Stage Business and the Neoliberal Theatre of London; Alex Ferrone Book 2020 The Editor(s) (if applicable) and The Author(s) 2020 Contempor

BATE

978-3-030-63600-5The Editor(s) (if applicable) and The Author(s) 2020

legitimate

Dissonance

harmony

Introduction: British Drama and the Neoliberal Consensus, the theatre. Installed under the Thatcher administration, neoliberalism achieved political hegemony under Blair in the 1990s and extended its status as consensus politics under Cameron in the 2010s. Against this political backdrop, the introduction traces how Britain’s theatre industry resisted and

FLOAT

Corporate Finance and/at the Theatre,ush of the corporate finance bubble, and its subject matter and formal heterogeneity recall Caryl Churchill’s . (1987), which similarly dramatises the frenzied amorality of the finance world after the Big Bang of 1986. The shows share uncanny historical consonances: both were massively profitable in

啟發(fā)

Theatrical Compressions of Time and Space,at theatricalise spatial collapse and temporal acceleration. Lucy Kirkwood’s . (2013) dramatises capitalism’s uneven development in China and the United States, while debbie tucker green’s . (2005) transplants underreported stories more commonly associated with the Global South into working-class En

AMOR

Incumbent

Collaborative Sites of Resistance,vist resistance to the neoliberal consensus, particularly in light of Brexit. The everyday experiences of austerity dramatised in Anders Lustgarten’s . (2013) are similarly taken up by Alexander Zeldin’s . (2016) and . (2019), plays that find a theatrical antecedent in Caryl Churchill’s . (1976), wh

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充足

Outsourcing Meaning in the Postdramatic,m Crouch’s . (2009), which ends by inviting spectators to comfort one another after collectively bearing witness to trauma, an appeal to communal care that perhaps speaks to the contracting out of emotional labour in participatory theatre.