Titlebook: Affects in 21st-Century British Theatre; Exploring Feeling on Mireia Aragay,Cristina Delgado-García,Martin Midde Book 2021 The Editor(s) (i

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Theatre at the End of the Worldoks, 2015), and ., by Kieran Hurley (., Oberon, 2016). Both plays offer visions of personal and political catastrophe, and Robson relates them to work in recent European philosophy and political theory. In particular, Robson turns to Jean-Luc Nancy’s rethinking of Martin Heidegger’s understanding of

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Affects and the Development of Political Subjectivity: From Resilience to Agency in Kae Tempest’s ffect, aesthetic form and power, focusing on the protagonists’ attempts to resist the neoliberal discourses of resilience and self-development. Drawing on Lauren Berlant’s understanding of the present as a mediated affect and on Sarah Ahmed’s concept of the stickiness of affects, Escoda explores the

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eld of affect studies.Considers the potential for the lens o.This book explores the various manifestations of affects in British theatre of the 21st century. The introduction gives a concise survey of existing and emerging theoretical and research trends and argues in favour of a capacious understan

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CSR, Sustainability, Ethics & Governancewriting. By studying how abstraction is embedded into all aspects of the theatrical milieu, Watkinson argues that these plays express the negative affects (fear, anxiety) that proliferate in neoliberal capitalist contexts and gesture towards how well-placed spectators are to proactively respond to the conditions that produce these affects.

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Affect and the Politics of Abstraction in British New Writingwriting. By studying how abstraction is embedded into all aspects of the theatrical milieu, Watkinson argues that these plays express the negative affects (fear, anxiety) that proliferate in neoliberal capitalist contexts and gesture towards how well-placed spectators are to proactively respond to the conditions that produce these affects.

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Political Dramaturgies of Affect: Anthony Neilson’s , and work but also inside the mind of its protagonist, through affective design that broadens a spectator’s capacity to access emotional cognition to feel, rather than necessarily understand, the experience of neurological otherness.

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