This book examines contemporary English drama and its relation to
the neoliberal consensus that has dominated British policy since
1979. The London stage has emerged as a key site in Britain's
reckoning with neoliberalism. On one hand, many playwrights have
denounced the acquisitive values of unfettered global capitalism;
on the other, plays have more readily revealed themselves as
products of the very market economy they critique, their production
histories and formal innovations uncomfortably reproducing the
strategies and practices of neoliberal labour markets. Stage
Business and the Neoliberal Theatre of London thus arrives at a
usefully ambivalent political position, one that praises the
political power of the theatre - its potential as a form of
resistance to the neoliberal rationality that rides roughshod over
democratic values - while simultaneously attending to the
institutional bondage that constrains it. For, of course, the
theatre itself everywhere straddles the line of capitulating to the
marketization of our cultural life.
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