This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.
recent plunge in Irish economic fortunes shows how
vulnerable a neoliberaleconomy is to changes of global investment flows, it also
shows that unregulated business behaviour can be a great source of economic
instability during a time when a government clings to fiscal conservatism.
The Celtic Tiger years, however, added a new element to this mix: rapidly rising
inequality. As the economy grew after 1994, the government enjoyed rising
revenues and budget surpluses despite its low tax rates. It faced a choice of
spending its surplus on social programmes, particularly in
of woe from my actual factual life and make it hilarious’ (Gadsby 2017). If
Nanette ultimately defers laughter for a critique of anger, it may do so in
active recognition of a complicity which exists between an audience and
industry’s appetite for a particular kind of comedy, and Gadsby’s willingness –if not desire –to create it.
This introductory chapter examines contemporary arts festivals as
spaces which provide the most intense examples of the neoliberaleconomies within which solo performance is produced and consumed, and in
which dynamics of self
Multilateral channels, garden cities and colonial planning
that international competition today functions
primarily as a mechanism for denationalising capital, the neoliberaleconomy is portrayed as a unifying and homogenising global project,
leading among other things to conceptions of post-national
In this view, cultural variations among nation states are not an
Yet, as the urbanist John
are already more exposed than others to the threats
of privation and violence. Though we might take seriously Foucault’s
observation that ‘there is no binary and all-encompassing opposition
between rulers and ruled at the root of power relations, and serving as a
general matrix’ (1978: 94), the solo performances encountered here provide an account of the still persistent hierarchies of value that contour
the possible recognition of difference, and signal how such ordering is
the intended outcome (rather than unfortunate side-effect) of neoliberaleconomies
A Capability Approach based analysis from the UK and Ireland
The CA and individualism
A focus on individual wellbeing has been recognised and explored by a number of
authors of the CA (e.g. Alkire, 2008; Robeyns, 2008). Robeyns (2008: 30) argues
that the CA adopts what is called ‘ethical individualism’ in that individuals are the
ultimate units of moral concern in evaluating wellbeing. In this way, the concerns
See the Human Development and Capability Association website (www.hd-ca.org) which details
thematic groups using various methodological approaches for the greater understanding of human
Surveillance and transgender bodies in a post-9/ 11 era of neoliberalism
‘bad’ (or deviant) citizen/subject actually defines the
conditions of possibility of the ‘good’ (or normative)
citizen/subject. In this process, certain once-outcast identities have
been seduced by the neoliberaleconomy and assimilated into normative
notions of belonging. For example, regarding the notion of sexual
citizenship, David Bell and Jon Binnie ( 2000 :
204) discuss how gay and lesbian rights
foundations gradually stripped away by incumbent prime ministers. Harold
Wilson introduced earnings-related contributions in 1966, Edward Heath
introduced increased means-testing in 1973, and Margaret Thatcher
removed the Government’s commitment to full employment by 1986 in
favour of a globalised neoliberaleconomy underpinned by individual
Analogously, the police series has
sufficient client base with spending power to purchase such goods. Given the general tendency of the neoliberaleconomy to produce patterns of starkly uneven distribution, however, most will place price before quality in order to meet their day-to-day material needs.
While the political visions of Marx and Morris each have their problems, it is a common underlying principle that interests me here: worker-controlled production . While wealthy liberal democracies now boast better educated populations than at any previous period, the average worker has seldom been so
assumptions in the institutional
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