“Something’s Missing”: Feeling the Structures of Project Neoliberal Dystopia

Kapitel in diesem Buch

1. Frontmatter I
2. Table of Contents V
3. Anger, Anxiety and Hope: The Complicit Realities and Engaged/ing Communities of Contemporary British Dys/Utopian Theatre 1
4. “Something’s Missing”: Feeling the Structures of Project Neoliberal Dystopia 11
5. “To Watch is not Enough”: Utopia, Performance, and Hope(lessness) 27
6. Environment, Virus, Dystopia: Disruptive Spatial Representations 43
7. Towards a Genealogy of the British Feminist Dystopian Play 57
8. Performing Utopia? The Contestation of Dystopian Space in Cecelia Ahern’s Flawed Series 73
9. Dystopian Dramaturgies: Living in the Ruins 87
10. A Description of This World as if It Were a Beautiful Place: From Avant-Garde Destruction to Dys(u)topias 103
11. The End of Capitalism and the End of Democracy: Dystopian and Critical Utopian Political Economies in an Age of Austerity 117
12. Utopian Past and Dystopian Present? Nostalgia in Brexit Britain 133
13. Civil Wars and Republics in Contemporary (Dystopian) Drama 149
14. The Spectre of Utopia/Dystopia: The Representation of Anthropogenic Global Climate Change as Culture-War Issue in Richard Bean’s The Heretic (2011) 165
15. “I Am the Abyss into Which People Dread to Fall”: Encountering Anxiety in Dystopian Drama 185
16. Visions of Hell in Contemporary British Drama 201
17. “Hiding from the World”: Dystopian Subjectivity in Martin Crimp’s In the Republic of Happiness 209
18. “Let the Doors Be Shut upon”… COVID-19: Relocating the Globe Theatre Stage to the Net 225
19. Notes on Contributors 243
20. Index of Names 245
21. Subject Index 249