Titlebook: Austerity and the Public Role of Drama; Performing Lives-in- Victor Merriman Book 2019 The Editor(s) (if applicable) and The Author(s), und

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https://doi.org/10.1007/978-3-030-03260-9Austerity; Globalisation; Neoliberalism; Jim Nolan; Gender; Race; Class; Performance; Politics; Economics; Rev

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The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl

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https://doi.org/10.1007/1-4020-3416-4 context in which Drama exists. The relationship between Drama’s fictional worlds and actual existing worlds is reciprocal, symbiotic, co-dependent, and, crucially, ethically grounded. Thus, any project in critical performance studies must account for overlapping material and symbolic worlds, experi

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Applications and further examples,lisation of everyday life. The goal is to expose both the primacy, in neo-liberal thought-worlds, of ., and the central role played by narrative consistency and social performance in establishing and sustaining that primacy by means of the trope of TINA (There Is No Alternative). Examples of related

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Mathematics and Its Applicationsand reflects on Dario Fo’s . and New York-based Reverend Billy Talen’s ‘interruptions.’ The chapter explores Fo’s St. Francis of Assisi, as embodied in . (2009), in ‘The Tirade of St Francis of Assisi’ at Bologna, 15 August 1222. The ethical activism of Reverend Billy and the Church of Stop Shopping

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Logics Associated with Hilbert Spaces,nd’s banks in 2008 continues. Nolan’s work is of particular interest because of his declared commitment to writing what he has called ‘public plays,’ citing Arthur Miller as an inspiration. . (2016) stages tensions between neo-liberal corporate ‘messaging’ in managing commemoration of the anti-imper

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The Logic of a Quantum Mechanical Systemtion. It explores Deficit Culture as a contemporary, mediated mythology. It considers emerging political options for human flourishing beyond neo-liberal individualism, in the writings of Hilary Wainwright (2018). It takes up Roger Brown’s (2018) demand that universities and other higher education i

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https://doi.org/10.1007/978-1-4615-7706-5considers evidence that Deficit Culture has come under pressure from new, mediated forms of public protest, which may enable performance to grasp a central role in imagining and rehearsing an ethics of collective living in the twenty-first century. It argues the importance both of critical thought a