Rights statement: Copyright Theatre Research International; Cambridge University Press http://journals.cambridge.org/action/displayJournal?jid=TRI The final, definitive version of this article has been published in the Journal, Theatre Research International, 41 (1), pp 5-20 2016, © 2016 Cambridge University Press.
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Final published version
Research output: Contribution to Journal/Magazine › Journal article › peer-review
Research output: Contribution to Journal/Magazine › Journal article › peer-review
}
TY - JOUR
T1 - Agitating for change
T2 - theatre and a feminist 'network of resistance'
AU - Aston, Elaine Frances
N1 - Copyright Theatre Research International; Cambridge University Press http://journals.cambridge.org/action/displayJournal?jid=TRI The final, definitive version of this article has been published in the Journal, Theatre Research International, 41 (1), pp 5-20 2016, © 2016 Cambridge University Press
PY - 2016/3/30
Y1 - 2016/3/30
N2 - Focusing on the UK, where feminism is gaining momentum through multiple sites of activist dissent from a neoliberal hegemony, my primary concern in this article is to understand how, given this renewal of feminist energies, theatre might be able to play its part in agitating for change. Inspired by Chantal Mouffe’s compelling description of a ‘network of resistance’, as a possible way forward I conceive of theatre politically as a series of heterogeneously formed sites of oppositional and affirmative activity, each linked into articulating dissent from neoliberalism and the desire for socially progressive change.This provides the critical framework for my engagement with three radically diverse performances ranging from new playwriting (Lucy Kirkwood’s NSFW), through the flash mob (Eve Ensler’s One Billion Rising campaign), to the West End musical Made in Dagenham.
AB - Focusing on the UK, where feminism is gaining momentum through multiple sites of activist dissent from a neoliberal hegemony, my primary concern in this article is to understand how, given this renewal of feminist energies, theatre might be able to play its part in agitating for change. Inspired by Chantal Mouffe’s compelling description of a ‘network of resistance’, as a possible way forward I conceive of theatre politically as a series of heterogeneously formed sites of oppositional and affirmative activity, each linked into articulating dissent from neoliberalism and the desire for socially progressive change.This provides the critical framework for my engagement with three radically diverse performances ranging from new playwriting (Lucy Kirkwood’s NSFW), through the flash mob (Eve Ensler’s One Billion Rising campaign), to the West End musical Made in Dagenham.
U2 - 10.1017/S0307883315000589
DO - 10.1017/S0307883315000589
M3 - Journal article
VL - 41
SP - 5
EP - 20
JO - Theatre Research International
JF - Theatre Research International
SN - 0307-8833
IS - 1
ER -