‘What a Carve up!’ The Eclectic Aesthetics of Postmodernism and the Politics of Diversity in some Examples of Contemporary British Verbatim Theatre

Verbatim performances like DV8’s To be Straight with You (2007), Tamasha Theatre’s The Trouble with Asian Men (2005) and Nadia Fall’s Home (2013) use a fragmented postmodernist aesthetic (i.e. a mixture of verbatim material, elaborate digital technology, dance, music and reflexive modes of performan...
Ausführliche Beschreibung

Gespeichert in:

Autor*in:	Cyrielle Garson [verfasserIn] Madelena Gonzalez [verfasserIn]

Format:	E-Artikel
Sprache:	Englisch ; Französisch

Erschienen:	2014

Schlagwörter:	aesthetics Britain contemporary practice diversity late capitalism minorities

Übergeordnetes Werk:	In: Études Britanniques Contemporaines - Presses Universitaires de la Méditerranée, 2017, 49(2014)
Übergeordnetes Werk:	volume:49 ; year:2014

Links:	Link aufrufen Link aufrufen Link aufrufen Journal toc Journal toc

DOI / URN:	10.4000/ebc.2685

Katalog-ID:	DOAJ045576203

Internformat


LEADER	01000caa a22002652 4500
001	DOAJ045576203
003	DE-627
005	20230308093600.0
007	cr uuu---uuuuu
008	230227s2014 xx \|\|\|\|\|o 00\| \|\|eng c
024	7		\|a 10.4000/ebc.2685 \|2 doi
035			\|a (DE-627)DOAJ045576203
035			\|a (DE-599)DOAJ383859e2b4894346a225ac2615bbd45c
040			\|a DE-627 \|b ger \|c DE-627 \|e rakwb
041			\|a eng \|a fre
050		0	\|a NX1-820
050		0	\|a PE1-3729
050		0	\|a PR1-9680
100	0		\|a Cyrielle Garson \|e verfasserin \|4 aut
245	1	0	\|a ‘What a Carve up!’ The Eclectic Aesthetics of Postmodernism and the Politics of Diversity in some Examples of Contemporary British Verbatim Theatre
264		1	\|c 2014
336			\|a Text \|b txt \|2 rdacontent
337			\|a Computermedien \|b c \|2 rdamedia
338			\|a Online-Ressource \|b cr \|2 rdacarrier
520			\|a Verbatim performances like DV8’s To be Straight with You (2007), Tamasha Theatre’s The Trouble with Asian Men (2005) and Nadia Fall’s Home (2013) use a fragmented postmodernist aesthetic (i.e. a mixture of verbatim material, elaborate digital technology, dance, music and reflexive modes of performance that create hybrids of performative ontologies) to transmit a ‘political’ message, if we can indeed accept that the personal is political. The nature of this political message is linked to tolerance and diversity within the ‘state’ of late capitalism currently obtaining within the UK, which, in effect, is a state of latent war, or at least, struggle... This would seem to indicate that a postmodern aesthetic is not incompatible with politics, contrary to what some have repeatedly claimed; Terry Eagleton, the well-known British Marxist-materialist thinker, is a case in point. To what extent, however, are cultural diversity and identity politics in danger of being recuperated by the market as specific niches, separate from more general political aims? Is the idea of unity in diversity, and the multicultural ideal a valid/realistic one or a mere utopia which plays into the hands of divisive trends in contemporary UK politics (Respect, Ukip), especially after the events of 7/7? In a society where the arts are no longer thought of as public property for the public good, but as an ‘industry’ where creativity is bought and sold, what are the consequences for this same artistic creativity and innovation in the domain of drama and how do the aesthetic modes of expression used in some examples of contemporary verbatim theatre reflect the current state of Britain?
650		4	\|a aesthetics
650		4	\|a Britain
650		4	\|a contemporary practice
650		4	\|a diversity
650		4	\|a late capitalism
650		4	\|a minorities
653		0	\|a Arts in general
653		0	\|a English language
653		0	\|a English literature
700	0		\|a Madelena Gonzalez \|e verfasserin \|4 aut
773	0	8	\|i In \|t Études Britanniques Contemporaines \|d Presses Universitaires de la Méditerranée, 2017 \|g 49(2014) \|w (DE-627)478506953 \|w (DE-600)2175580-2 \|x 22715444 \|7 nnns
773	1	8	\|g volume:49 \|g year:2014
856	4	0	\|u https://doi.org/10.4000/ebc.2685 \|z kostenfrei
856	4	0	\|u https://doaj.org/article/383859e2b4894346a225ac2615bbd45c \|z kostenfrei
856	4	0	\|u http://journals.openedition.org/ebc/2685 \|z kostenfrei
856	4	2	\|u https://doaj.org/toc/1168-4917 \|y Journal toc \|z kostenfrei
856	4	2	\|u https://doaj.org/toc/2271-5444 \|y Journal toc \|z kostenfrei
912			\|a GBV_USEFLAG_A
912			\|a SYSFLAG_A
912			\|a GBV_DOAJ
912			\|a GBV_ILN_20
912			\|a GBV_ILN_22
912			\|a GBV_ILN_24
912			\|a GBV_ILN_31
912			\|a GBV_ILN_39
912			\|a GBV_ILN_40
912			\|a GBV_ILN_60
912			\|a GBV_ILN_62
912			\|a GBV_ILN_63
912			\|a GBV_ILN_65
912			\|a GBV_ILN_69
912			\|a GBV_ILN_70
912			\|a GBV_ILN_73
912			\|a GBV_ILN_95
912			\|a GBV_ILN_110
912			\|a GBV_ILN_151
912			\|a GBV_ILN_161
912			\|a GBV_ILN_213
912			\|a GBV_ILN_230
912			\|a GBV_ILN_285
912			\|a GBV_ILN_293
912			\|a GBV_ILN_602
912			\|a GBV_ILN_2014
912			\|a GBV_ILN_2093
912			\|a GBV_ILN_4012
912			\|a GBV_ILN_4037
912			\|a GBV_ILN_4112
912			\|a GBV_ILN_4125
912			\|a GBV_ILN_4126
912			\|a GBV_ILN_4249
912			\|a GBV_ILN_4305
912			\|a GBV_ILN_4306
912			\|a GBV_ILN_4322
912			\|a GBV_ILN_4323
912			\|a GBV_ILN_4324
912			\|a GBV_ILN_4325
912			\|a GBV_ILN_4338
912			\|a GBV_ILN_4367
912			\|a GBV_ILN_4700
951			\|a AR
952			\|d 49 \|j 2014

Indexfelder

author_variant	c g cg m g mg
matchkey_str	article:22715444:2014----::htcrephelciashtcopsmdrimnteoiisfiestismeapeoc
hierarchy_sort_str	2014
callnumber-subject-code	NX
publishDate	2014
allfields	10.4000/ebc.2685 doi (DE-627)DOAJ045576203 (DE-599)DOAJ383859e2b4894346a225ac2615bbd45c DE-627 ger DE-627 rakwb eng fre NX1-820 PE1-3729 PR1-9680 Cyrielle Garson verfasserin aut ‘What a Carve up!’ The Eclectic Aesthetics of Postmodernism and the Politics of Diversity in some Examples of Contemporary British Verbatim Theatre 2014 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier Verbatim performances like DV8’s To be Straight with You (2007), Tamasha Theatre’s The Trouble with Asian Men (2005) and Nadia Fall’s Home (2013) use a fragmented postmodernist aesthetic (i.e. a mixture of verbatim material, elaborate digital technology, dance, music and reflexive modes of performance that create hybrids of performative ontologies) to transmit a ‘political’ message, if we can indeed accept that the personal is political. The nature of this political message is linked to tolerance and diversity within the ‘state’ of late capitalism currently obtaining within the UK, which, in effect, is a state of latent war, or at least, struggle... This would seem to indicate that a postmodern aesthetic is not incompatible with politics, contrary to what some have repeatedly claimed; Terry Eagleton, the well-known British Marxist-materialist thinker, is a case in point. To what extent, however, are cultural diversity and identity politics in danger of being recuperated by the market as specific niches, separate from more general political aims? Is the idea of unity in diversity, and the multicultural ideal a valid/realistic one or a mere utopia which plays into the hands of divisive trends in contemporary UK politics (Respect, Ukip), especially after the events of 7/7? In a society where the arts are no longer thought of as public property for the public good, but as an ‘industry’ where creativity is bought and sold, what are the consequences for this same artistic creativity and innovation in the domain of drama and how do the aesthetic modes of expression used in some examples of contemporary verbatim theatre reflect the current state of Britain? aesthetics Britain contemporary practice diversity late capitalism minorities Arts in general English language English literature Madelena Gonzalez verfasserin aut In Études Britanniques Contemporaines Presses Universitaires de la Méditerranée, 2017 49(2014) (DE-627)478506953 (DE-600)2175580-2 22715444 nnns volume:49 year:2014 https://doi.org/10.4000/ebc.2685 kostenfrei https://doaj.org/article/383859e2b4894346a225ac2615bbd45c kostenfrei http://journals.openedition.org/ebc/2685 kostenfrei https://doaj.org/toc/1168-4917 Journal toc kostenfrei https://doaj.org/toc/2271-5444 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_20 GBV_ILN_22 GBV_ILN_24 GBV_ILN_31 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_95 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_2093 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4338 GBV_ILN_4367 GBV_ILN_4700 AR 49 2014
spelling	10.4000/ebc.2685 doi (DE-627)DOAJ045576203 (DE-599)DOAJ383859e2b4894346a225ac2615bbd45c DE-627 ger DE-627 rakwb eng fre NX1-820 PE1-3729 PR1-9680 Cyrielle Garson verfasserin aut ‘What a Carve up!’ The Eclectic Aesthetics of Postmodernism and the Politics of Diversity in some Examples of Contemporary British Verbatim Theatre 2014 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier Verbatim performances like DV8’s To be Straight with You (2007), Tamasha Theatre’s The Trouble with Asian Men (2005) and Nadia Fall’s Home (2013) use a fragmented postmodernist aesthetic (i.e. a mixture of verbatim material, elaborate digital technology, dance, music and reflexive modes of performance that create hybrids of performative ontologies) to transmit a ‘political’ message, if we can indeed accept that the personal is political. The nature of this political message is linked to tolerance and diversity within the ‘state’ of late capitalism currently obtaining within the UK, which, in effect, is a state of latent war, or at least, struggle... This would seem to indicate that a postmodern aesthetic is not incompatible with politics, contrary to what some have repeatedly claimed; Terry Eagleton, the well-known British Marxist-materialist thinker, is a case in point. To what extent, however, are cultural diversity and identity politics in danger of being recuperated by the market as specific niches, separate from more general political aims? Is the idea of unity in diversity, and the multicultural ideal a valid/realistic one or a mere utopia which plays into the hands of divisive trends in contemporary UK politics (Respect, Ukip), especially after the events of 7/7? In a society where the arts are no longer thought of as public property for the public good, but as an ‘industry’ where creativity is bought and sold, what are the consequences for this same artistic creativity and innovation in the domain of drama and how do the aesthetic modes of expression used in some examples of contemporary verbatim theatre reflect the current state of Britain? aesthetics Britain contemporary practice diversity late capitalism minorities Arts in general English language English literature Madelena Gonzalez verfasserin aut In Études Britanniques Contemporaines Presses Universitaires de la Méditerranée, 2017 49(2014) (DE-627)478506953 (DE-600)2175580-2 22715444 nnns volume:49 year:2014 https://doi.org/10.4000/ebc.2685 kostenfrei https://doaj.org/article/383859e2b4894346a225ac2615bbd45c kostenfrei http://journals.openedition.org/ebc/2685 kostenfrei https://doaj.org/toc/1168-4917 Journal toc kostenfrei https://doaj.org/toc/2271-5444 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_20 GBV_ILN_22 GBV_ILN_24 GBV_ILN_31 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_95 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_2093 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4338 GBV_ILN_4367 GBV_ILN_4700 AR 49 2014
allfields_unstemmed	10.4000/ebc.2685 doi (DE-627)DOAJ045576203 (DE-599)DOAJ383859e2b4894346a225ac2615bbd45c DE-627 ger DE-627 rakwb eng fre NX1-820 PE1-3729 PR1-9680 Cyrielle Garson verfasserin aut ‘What a Carve up!’ The Eclectic Aesthetics of Postmodernism and the Politics of Diversity in some Examples of Contemporary British Verbatim Theatre 2014 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier Verbatim performances like DV8’s To be Straight with You (2007), Tamasha Theatre’s The Trouble with Asian Men (2005) and Nadia Fall’s Home (2013) use a fragmented postmodernist aesthetic (i.e. a mixture of verbatim material, elaborate digital technology, dance, music and reflexive modes of performance that create hybrids of performative ontologies) to transmit a ‘political’ message, if we can indeed accept that the personal is political. The nature of this political message is linked to tolerance and diversity within the ‘state’ of late capitalism currently obtaining within the UK, which, in effect, is a state of latent war, or at least, struggle... This would seem to indicate that a postmodern aesthetic is not incompatible with politics, contrary to what some have repeatedly claimed; Terry Eagleton, the well-known British Marxist-materialist thinker, is a case in point. To what extent, however, are cultural diversity and identity politics in danger of being recuperated by the market as specific niches, separate from more general political aims? Is the idea of unity in diversity, and the multicultural ideal a valid/realistic one or a mere utopia which plays into the hands of divisive trends in contemporary UK politics (Respect, Ukip), especially after the events of 7/7? In a society where the arts are no longer thought of as public property for the public good, but as an ‘industry’ where creativity is bought and sold, what are the consequences for this same artistic creativity and innovation in the domain of drama and how do the aesthetic modes of expression used in some examples of contemporary verbatim theatre reflect the current state of Britain? aesthetics Britain contemporary practice diversity late capitalism minorities Arts in general English language English literature Madelena Gonzalez verfasserin aut In Études Britanniques Contemporaines Presses Universitaires de la Méditerranée, 2017 49(2014) (DE-627)478506953 (DE-600)2175580-2 22715444 nnns volume:49 year:2014 https://doi.org/10.4000/ebc.2685 kostenfrei https://doaj.org/article/383859e2b4894346a225ac2615bbd45c kostenfrei http://journals.openedition.org/ebc/2685 kostenfrei https://doaj.org/toc/1168-4917 Journal toc kostenfrei https://doaj.org/toc/2271-5444 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_20 GBV_ILN_22 GBV_ILN_24 GBV_ILN_31 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_95 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_2093 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4338 GBV_ILN_4367 GBV_ILN_4700 AR 49 2014
allfieldsGer	10.4000/ebc.2685 doi (DE-627)DOAJ045576203 (DE-599)DOAJ383859e2b4894346a225ac2615bbd45c DE-627 ger DE-627 rakwb eng fre NX1-820 PE1-3729 PR1-9680 Cyrielle Garson verfasserin aut ‘What a Carve up!’ The Eclectic Aesthetics of Postmodernism and the Politics of Diversity in some Examples of Contemporary British Verbatim Theatre 2014 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier Verbatim performances like DV8’s To be Straight with You (2007), Tamasha Theatre’s The Trouble with Asian Men (2005) and Nadia Fall’s Home (2013) use a fragmented postmodernist aesthetic (i.e. a mixture of verbatim material, elaborate digital technology, dance, music and reflexive modes of performance that create hybrids of performative ontologies) to transmit a ‘political’ message, if we can indeed accept that the personal is political. The nature of this political message is linked to tolerance and diversity within the ‘state’ of late capitalism currently obtaining within the UK, which, in effect, is a state of latent war, or at least, struggle... This would seem to indicate that a postmodern aesthetic is not incompatible with politics, contrary to what some have repeatedly claimed; Terry Eagleton, the well-known British Marxist-materialist thinker, is a case in point. To what extent, however, are cultural diversity and identity politics in danger of being recuperated by the market as specific niches, separate from more general political aims? Is the idea of unity in diversity, and the multicultural ideal a valid/realistic one or a mere utopia which plays into the hands of divisive trends in contemporary UK politics (Respect, Ukip), especially after the events of 7/7? In a society where the arts are no longer thought of as public property for the public good, but as an ‘industry’ where creativity is bought and sold, what are the consequences for this same artistic creativity and innovation in the domain of drama and how do the aesthetic modes of expression used in some examples of contemporary verbatim theatre reflect the current state of Britain? aesthetics Britain contemporary practice diversity late capitalism minorities Arts in general English language English literature Madelena Gonzalez verfasserin aut In Études Britanniques Contemporaines Presses Universitaires de la Méditerranée, 2017 49(2014) (DE-627)478506953 (DE-600)2175580-2 22715444 nnns volume:49 year:2014 https://doi.org/10.4000/ebc.2685 kostenfrei https://doaj.org/article/383859e2b4894346a225ac2615bbd45c kostenfrei http://journals.openedition.org/ebc/2685 kostenfrei https://doaj.org/toc/1168-4917 Journal toc kostenfrei https://doaj.org/toc/2271-5444 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_20 GBV_ILN_22 GBV_ILN_24 GBV_ILN_31 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_95 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_2093 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4338 GBV_ILN_4367 GBV_ILN_4700 AR 49 2014
allfieldsSound	10.4000/ebc.2685 doi (DE-627)DOAJ045576203 (DE-599)DOAJ383859e2b4894346a225ac2615bbd45c DE-627 ger DE-627 rakwb eng fre NX1-820 PE1-3729 PR1-9680 Cyrielle Garson verfasserin aut ‘What a Carve up!’ The Eclectic Aesthetics of Postmodernism and the Politics of Diversity in some Examples of Contemporary British Verbatim Theatre 2014 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier Verbatim performances like DV8’s To be Straight with You (2007), Tamasha Theatre’s The Trouble with Asian Men (2005) and Nadia Fall’s Home (2013) use a fragmented postmodernist aesthetic (i.e. a mixture of verbatim material, elaborate digital technology, dance, music and reflexive modes of performance that create hybrids of performative ontologies) to transmit a ‘political’ message, if we can indeed accept that the personal is political. The nature of this political message is linked to tolerance and diversity within the ‘state’ of late capitalism currently obtaining within the UK, which, in effect, is a state of latent war, or at least, struggle... This would seem to indicate that a postmodern aesthetic is not incompatible with politics, contrary to what some have repeatedly claimed; Terry Eagleton, the well-known British Marxist-materialist thinker, is a case in point. To what extent, however, are cultural diversity and identity politics in danger of being recuperated by the market as specific niches, separate from more general political aims? Is the idea of unity in diversity, and the multicultural ideal a valid/realistic one or a mere utopia which plays into the hands of divisive trends in contemporary UK politics (Respect, Ukip), especially after the events of 7/7? In a society where the arts are no longer thought of as public property for the public good, but as an ‘industry’ where creativity is bought and sold, what are the consequences for this same artistic creativity and innovation in the domain of drama and how do the aesthetic modes of expression used in some examples of contemporary verbatim theatre reflect the current state of Britain? aesthetics Britain contemporary practice diversity late capitalism minorities Arts in general English language English literature Madelena Gonzalez verfasserin aut In Études Britanniques Contemporaines Presses Universitaires de la Méditerranée, 2017 49(2014) (DE-627)478506953 (DE-600)2175580-2 22715444 nnns volume:49 year:2014 https://doi.org/10.4000/ebc.2685 kostenfrei https://doaj.org/article/383859e2b4894346a225ac2615bbd45c kostenfrei http://journals.openedition.org/ebc/2685 kostenfrei https://doaj.org/toc/1168-4917 Journal toc kostenfrei https://doaj.org/toc/2271-5444 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_20 GBV_ILN_22 GBV_ILN_24 GBV_ILN_31 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_95 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_2093 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4338 GBV_ILN_4367 GBV_ILN_4700 AR 49 2014
language	English French
source	In Études Britanniques Contemporaines 49(2014) volume:49 year:2014
sourceStr	In Études Britanniques Contemporaines 49(2014) volume:49 year:2014
format_phy_str_mv	Article
institution	findex.gbv.de
topic_facet	aesthetics Britain contemporary practice diversity late capitalism minorities Arts in general English language English literature
isfreeaccess_bool	true
container_title	Études Britanniques Contemporaines
authorswithroles_txt_mv	Cyrielle Garson @@aut@@ Madelena Gonzalez @@aut@@
publishDateDaySort_date	2014-01-01T00:00:00Z
hierarchy_top_id	478506953
id	DOAJ045576203
language_de	englisch franzoesisch
fullrecord	<?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>01000caa a22002652 4500</leader><controlfield tag="001">DOAJ045576203</controlfield><controlfield tag="003">DE-627</controlfield><controlfield tag="005">20230308093600.0</controlfield><controlfield tag="007">cr uuu---uuuuu</controlfield><controlfield tag="008">230227s2014 xx \|\|\|\|\|o 00\| \|\|eng c</controlfield><datafield tag="024" ind1="7" ind2=" "><subfield code="a">10.4000/ebc.2685</subfield><subfield code="2">doi</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-627)DOAJ045576203</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)DOAJ383859e2b4894346a225ac2615bbd45c</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-627</subfield><subfield code="b">ger</subfield><subfield code="c">DE-627</subfield><subfield code="e">rakwb</subfield></datafield><datafield tag="041" ind1=" " ind2=" "><subfield code="a">eng</subfield><subfield code="a">fre</subfield></datafield><datafield tag="050" ind1=" " ind2="0"><subfield code="a">NX1-820</subfield></datafield><datafield tag="050" ind1=" " ind2="0"><subfield code="a">PE1-3729</subfield></datafield><datafield tag="050" ind1=" " ind2="0"><subfield code="a">PR1-9680</subfield></datafield><datafield tag="100" ind1="0" ind2=" "><subfield code="a">Cyrielle Garson</subfield><subfield code="e">verfasserin</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">‘What a Carve up!’ The Eclectic Aesthetics of Postmodernism and the Politics of Diversity in some Examples of Contemporary British Verbatim Theatre</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="c">2014</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="a">Text</subfield><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="a">Computermedien</subfield><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="a">Online-Ressource</subfield><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">Verbatim performances like DV8’s To be Straight with You (2007), Tamasha Theatre’s The Trouble with Asian Men (2005) and Nadia Fall’s Home (2013) use a fragmented postmodernist aesthetic (i.e. a mixture of verbatim material, elaborate digital technology, dance, music and reflexive modes of performance that create hybrids of performative ontologies) to transmit a ‘political’ message, if we can indeed accept that the personal is political. The nature of this political message is linked to tolerance and diversity within the ‘state’ of late capitalism currently obtaining within the UK, which, in effect, is a state of latent war, or at least, struggle... This would seem to indicate that a postmodern aesthetic is not incompatible with politics, contrary to what some have repeatedly claimed; Terry Eagleton, the well-known British Marxist-materialist thinker, is a case in point. To what extent, however, are cultural diversity and identity politics in danger of being recuperated by the market as specific niches, separate from more general political aims? Is the idea of unity in diversity, and the multicultural ideal a valid/realistic one or a mere utopia which plays into the hands of divisive trends in contemporary UK politics (Respect, Ukip), especially after the events of 7/7? In a society where the arts are no longer thought of as public property for the public good, but as an ‘industry’ where creativity is bought and sold, what are the consequences for this same artistic creativity and innovation in the domain of drama and how do the aesthetic modes of expression used in some examples of contemporary verbatim theatre reflect the current state of Britain?</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">aesthetics</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Britain</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">contemporary practice</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">diversity</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">late capitalism</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">minorities</subfield></datafield><datafield tag="653" ind1=" " ind2="0"><subfield code="a">Arts in general</subfield></datafield><datafield tag="653" ind1=" " ind2="0"><subfield code="a">English language</subfield></datafield><datafield tag="653" ind1=" " ind2="0"><subfield code="a">English literature</subfield></datafield><datafield tag="700" ind1="0" ind2=" "><subfield code="a">Madelena Gonzalez</subfield><subfield code="e">verfasserin</subfield><subfield code="4">aut</subfield></datafield><datafield tag="773" ind1="0" ind2="8"><subfield code="i">In</subfield><subfield code="t">Études Britanniques Contemporaines</subfield><subfield code="d">Presses Universitaires de la Méditerranée, 2017</subfield><subfield code="g">49(2014)</subfield><subfield code="w">(DE-627)478506953</subfield><subfield code="w">(DE-600)2175580-2</subfield><subfield code="x">22715444</subfield><subfield code="7">nnns</subfield></datafield><datafield tag="773" ind1="1" ind2="8"><subfield code="g">volume:49</subfield><subfield code="g">year:2014</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="u">https://doi.org/10.4000/ebc.2685</subfield><subfield code="z">kostenfrei</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="u">https://doaj.org/article/383859e2b4894346a225ac2615bbd45c</subfield><subfield code="z">kostenfrei</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="u">http://journals.openedition.org/ebc/2685</subfield><subfield code="z">kostenfrei</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="u">https://doaj.org/toc/1168-4917</subfield><subfield code="y">Journal toc</subfield><subfield code="z">kostenfrei</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="u">https://doaj.org/toc/2271-5444</subfield><subfield code="y">Journal toc</subfield><subfield code="z">kostenfrei</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_USEFLAG_A</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">SYSFLAG_A</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_DOAJ</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_20</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_22</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_24</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_31</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_39</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_40</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_60</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_62</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_63</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_65</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_69</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_70</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_73</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_95</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_110</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_151</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_161</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_213</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_230</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_285</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_293</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_602</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_2014</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_2093</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4012</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4037</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4112</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4125</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4126</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4249</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4305</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4306</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4322</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4323</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4324</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4325</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4338</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4367</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4700</subfield></datafield><datafield tag="951" ind1=" " ind2=" "><subfield code="a">AR</subfield></datafield><datafield tag="952" ind1=" " ind2=" "><subfield code="d">49</subfield><subfield code="j">2014</subfield></datafield></record></collection>
callnumber-first	N - Fine Arts
author	Cyrielle Garson
spellingShingle	Cyrielle Garson misc NX1-820 misc PE1-3729 misc PR1-9680 misc aesthetics misc Britain misc contemporary practice misc diversity misc late capitalism misc minorities misc Arts in general misc English language misc English literature ‘What a Carve up!’ The Eclectic Aesthetics of Postmodernism and the Politics of Diversity in some Examples of Contemporary British Verbatim Theatre
authorStr	Cyrielle Garson
ppnlink_with_tag_str_mv	@@773@@(DE-627)478506953
format	electronic Article
delete_txt_mv	keep
author_role	aut aut
collection	DOAJ
remote_str	true
callnumber-label	NX1-820
illustrated	Not Illustrated
issn	22715444
topic_title	NX1-820 PE1-3729 PR1-9680 ‘What a Carve up!’ The Eclectic Aesthetics of Postmodernism and the Politics of Diversity in some Examples of Contemporary British Verbatim Theatre aesthetics Britain contemporary practice diversity late capitalism minorities
topic	misc NX1-820 misc PE1-3729 misc PR1-9680 misc aesthetics misc Britain misc contemporary practice misc diversity misc late capitalism misc minorities misc Arts in general misc English language misc English literature
topic_unstemmed	misc NX1-820 misc PE1-3729 misc PR1-9680 misc aesthetics misc Britain misc contemporary practice misc diversity misc late capitalism misc minorities misc Arts in general misc English language misc English literature
topic_browse	misc NX1-820 misc PE1-3729 misc PR1-9680 misc aesthetics misc Britain misc contemporary practice misc diversity misc late capitalism misc minorities misc Arts in general misc English language misc English literature
format_facet	Elektronische Aufsätze Aufsätze Elektronische Ressource
format_main_str_mv	Text Zeitschrift/Artikel
carriertype_str_mv	cr
hierarchy_parent_title	Études Britanniques Contemporaines
hierarchy_parent_id	478506953
hierarchy_top_title	Études Britanniques Contemporaines
isfreeaccess_txt	true
familylinks_str_mv	(DE-627)478506953 (DE-600)2175580-2
title	‘What a Carve up!’ The Eclectic Aesthetics of Postmodernism and the Politics of Diversity in some Examples of Contemporary British Verbatim Theatre
ctrlnum	(DE-627)DOAJ045576203 (DE-599)DOAJ383859e2b4894346a225ac2615bbd45c
title_full	‘What a Carve up!’ The Eclectic Aesthetics of Postmodernism and the Politics of Diversity in some Examples of Contemporary British Verbatim Theatre
author_sort	Cyrielle Garson
journal	Études Britanniques Contemporaines
journalStr	Études Britanniques Contemporaines
callnumber-first-code	N
lang_code	eng fre
isOA_bool	true
recordtype	marc
publishDateSort	2014
contenttype_str_mv	txt
author_browse	Cyrielle Garson Madelena Gonzalez
container_volume	49
class	NX1-820 PE1-3729 PR1-9680
format_se	Elektronische Aufsätze
author-letter	Cyrielle Garson
doi_str_mv	10.4000/ebc.2685
author2-role	verfasserin
title_sort	‘what a carve up!’ the eclectic aesthetics of postmodernism and the politics of diversity in some examples of contemporary british verbatim theatre
callnumber	NX1-820
title_auth	‘What a Carve up!’ The Eclectic Aesthetics of Postmodernism and the Politics of Diversity in some Examples of Contemporary British Verbatim Theatre
abstract	Verbatim performances like DV8’s To be Straight with You (2007), Tamasha Theatre’s The Trouble with Asian Men (2005) and Nadia Fall’s Home (2013) use a fragmented postmodernist aesthetic (i.e. a mixture of verbatim material, elaborate digital technology, dance, music and reflexive modes of performance that create hybrids of performative ontologies) to transmit a ‘political’ message, if we can indeed accept that the personal is political. The nature of this political message is linked to tolerance and diversity within the ‘state’ of late capitalism currently obtaining within the UK, which, in effect, is a state of latent war, or at least, struggle... This would seem to indicate that a postmodern aesthetic is not incompatible with politics, contrary to what some have repeatedly claimed; Terry Eagleton, the well-known British Marxist-materialist thinker, is a case in point. To what extent, however, are cultural diversity and identity politics in danger of being recuperated by the market as specific niches, separate from more general political aims? Is the idea of unity in diversity, and the multicultural ideal a valid/realistic one or a mere utopia which plays into the hands of divisive trends in contemporary UK politics (Respect, Ukip), especially after the events of 7/7? In a society where the arts are no longer thought of as public property for the public good, but as an ‘industry’ where creativity is bought and sold, what are the consequences for this same artistic creativity and innovation in the domain of drama and how do the aesthetic modes of expression used in some examples of contemporary verbatim theatre reflect the current state of Britain?
abstractGer	Verbatim performances like DV8’s To be Straight with You (2007), Tamasha Theatre’s The Trouble with Asian Men (2005) and Nadia Fall’s Home (2013) use a fragmented postmodernist aesthetic (i.e. a mixture of verbatim material, elaborate digital technology, dance, music and reflexive modes of performance that create hybrids of performative ontologies) to transmit a ‘political’ message, if we can indeed accept that the personal is political. The nature of this political message is linked to tolerance and diversity within the ‘state’ of late capitalism currently obtaining within the UK, which, in effect, is a state of latent war, or at least, struggle... This would seem to indicate that a postmodern aesthetic is not incompatible with politics, contrary to what some have repeatedly claimed; Terry Eagleton, the well-known British Marxist-materialist thinker, is a case in point. To what extent, however, are cultural diversity and identity politics in danger of being recuperated by the market as specific niches, separate from more general political aims? Is the idea of unity in diversity, and the multicultural ideal a valid/realistic one or a mere utopia which plays into the hands of divisive trends in contemporary UK politics (Respect, Ukip), especially after the events of 7/7? In a society where the arts are no longer thought of as public property for the public good, but as an ‘industry’ where creativity is bought and sold, what are the consequences for this same artistic creativity and innovation in the domain of drama and how do the aesthetic modes of expression used in some examples of contemporary verbatim theatre reflect the current state of Britain?
abstract_unstemmed	Verbatim performances like DV8’s To be Straight with You (2007), Tamasha Theatre’s The Trouble with Asian Men (2005) and Nadia Fall’s Home (2013) use a fragmented postmodernist aesthetic (i.e. a mixture of verbatim material, elaborate digital technology, dance, music and reflexive modes of performance that create hybrids of performative ontologies) to transmit a ‘political’ message, if we can indeed accept that the personal is political. The nature of this political message is linked to tolerance and diversity within the ‘state’ of late capitalism currently obtaining within the UK, which, in effect, is a state of latent war, or at least, struggle... This would seem to indicate that a postmodern aesthetic is not incompatible with politics, contrary to what some have repeatedly claimed; Terry Eagleton, the well-known British Marxist-materialist thinker, is a case in point. To what extent, however, are cultural diversity and identity politics in danger of being recuperated by the market as specific niches, separate from more general political aims? Is the idea of unity in diversity, and the multicultural ideal a valid/realistic one or a mere utopia which plays into the hands of divisive trends in contemporary UK politics (Respect, Ukip), especially after the events of 7/7? In a society where the arts are no longer thought of as public property for the public good, but as an ‘industry’ where creativity is bought and sold, what are the consequences for this same artistic creativity and innovation in the domain of drama and how do the aesthetic modes of expression used in some examples of contemporary verbatim theatre reflect the current state of Britain?
collection_details	GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_20 GBV_ILN_22 GBV_ILN_24 GBV_ILN_31 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_95 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_2093 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4338 GBV_ILN_4367 GBV_ILN_4700
title_short	‘What a Carve up!’ The Eclectic Aesthetics of Postmodernism and the Politics of Diversity in some Examples of Contemporary British Verbatim Theatre
url	https://doi.org/10.4000/ebc.2685 https://doaj.org/article/383859e2b4894346a225ac2615bbd45c http://journals.openedition.org/ebc/2685 https://doaj.org/toc/1168-4917 https://doaj.org/toc/2271-5444
remote_bool	true
author2	Madelena Gonzalez
author2Str	Madelena Gonzalez
ppnlink	478506953
callnumber-subject	NX - Arts in General
mediatype_str_mv	c
isOA_txt	true
hochschulschrift_bool	false
doi_str	10.4000/ebc.2685
callnumber-a	NX1-820
up_date	2024-07-03T15:45:44.235Z
_version_	1803573310771953664
fullrecord_marcxml	<?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>01000caa a22002652 4500</leader><controlfield tag="001">DOAJ045576203</controlfield><controlfield tag="003">DE-627</controlfield><controlfield tag="005">20230308093600.0</controlfield><controlfield tag="007">cr uuu---uuuuu</controlfield><controlfield tag="008">230227s2014 xx \|\|\|\|\|o 00\| \|\|eng c</controlfield><datafield tag="024" ind1="7" ind2=" "><subfield code="a">10.4000/ebc.2685</subfield><subfield code="2">doi</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-627)DOAJ045576203</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)DOAJ383859e2b4894346a225ac2615bbd45c</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-627</subfield><subfield code="b">ger</subfield><subfield code="c">DE-627</subfield><subfield code="e">rakwb</subfield></datafield><datafield tag="041" ind1=" " ind2=" "><subfield code="a">eng</subfield><subfield code="a">fre</subfield></datafield><datafield tag="050" ind1=" " ind2="0"><subfield code="a">NX1-820</subfield></datafield><datafield tag="050" ind1=" " ind2="0"><subfield code="a">PE1-3729</subfield></datafield><datafield tag="050" ind1=" " ind2="0"><subfield code="a">PR1-9680</subfield></datafield><datafield tag="100" ind1="0" ind2=" "><subfield code="a">Cyrielle Garson</subfield><subfield code="e">verfasserin</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">‘What a Carve up!’ The Eclectic Aesthetics of Postmodernism and the Politics of Diversity in some Examples of Contemporary British Verbatim Theatre</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="c">2014</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="a">Text</subfield><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="a">Computermedien</subfield><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="a">Online-Ressource</subfield><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">Verbatim performances like DV8’s To be Straight with You (2007), Tamasha Theatre’s The Trouble with Asian Men (2005) and Nadia Fall’s Home (2013) use a fragmented postmodernist aesthetic (i.e. a mixture of verbatim material, elaborate digital technology, dance, music and reflexive modes of performance that create hybrids of performative ontologies) to transmit a ‘political’ message, if we can indeed accept that the personal is political. The nature of this political message is linked to tolerance and diversity within the ‘state’ of late capitalism currently obtaining within the UK, which, in effect, is a state of latent war, or at least, struggle... This would seem to indicate that a postmodern aesthetic is not incompatible with politics, contrary to what some have repeatedly claimed; Terry Eagleton, the well-known British Marxist-materialist thinker, is a case in point. To what extent, however, are cultural diversity and identity politics in danger of being recuperated by the market as specific niches, separate from more general political aims? Is the idea of unity in diversity, and the multicultural ideal a valid/realistic one or a mere utopia which plays into the hands of divisive trends in contemporary UK politics (Respect, Ukip), especially after the events of 7/7? In a society where the arts are no longer thought of as public property for the public good, but as an ‘industry’ where creativity is bought and sold, what are the consequences for this same artistic creativity and innovation in the domain of drama and how do the aesthetic modes of expression used in some examples of contemporary verbatim theatre reflect the current state of Britain?</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">aesthetics</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Britain</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">contemporary practice</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">diversity</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">late capitalism</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">minorities</subfield></datafield><datafield tag="653" ind1=" " ind2="0"><subfield code="a">Arts in general</subfield></datafield><datafield tag="653" ind1=" " ind2="0"><subfield code="a">English language</subfield></datafield><datafield tag="653" ind1=" " ind2="0"><subfield code="a">English literature</subfield></datafield><datafield tag="700" ind1="0" ind2=" "><subfield code="a">Madelena Gonzalez</subfield><subfield code="e">verfasserin</subfield><subfield code="4">aut</subfield></datafield><datafield tag="773" ind1="0" ind2="8"><subfield code="i">In</subfield><subfield code="t">Études Britanniques Contemporaines</subfield><subfield code="d">Presses Universitaires de la Méditerranée, 2017</subfield><subfield code="g">49(2014)</subfield><subfield code="w">(DE-627)478506953</subfield><subfield code="w">(DE-600)2175580-2</subfield><subfield code="x">22715444</subfield><subfield code="7">nnns</subfield></datafield><datafield tag="773" ind1="1" ind2="8"><subfield code="g">volume:49</subfield><subfield code="g">year:2014</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="u">https://doi.org/10.4000/ebc.2685</subfield><subfield code="z">kostenfrei</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="u">https://doaj.org/article/383859e2b4894346a225ac2615bbd45c</subfield><subfield code="z">kostenfrei</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="u">http://journals.openedition.org/ebc/2685</subfield><subfield code="z">kostenfrei</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="u">https://doaj.org/toc/1168-4917</subfield><subfield code="y">Journal toc</subfield><subfield code="z">kostenfrei</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="u">https://doaj.org/toc/2271-5444</subfield><subfield code="y">Journal toc</subfield><subfield code="z">kostenfrei</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_USEFLAG_A</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">SYSFLAG_A</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_DOAJ</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_20</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_22</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_24</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_31</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_39</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_40</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_60</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_62</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_63</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_65</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_69</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_70</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_73</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_95</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_110</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_151</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_161</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_213</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_230</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_285</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_293</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_602</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_2014</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_2093</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4012</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4037</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4112</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4125</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4126</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4249</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4305</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4306</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4322</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4323</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4324</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4325</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4338</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4367</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_ILN_4700</subfield></datafield><datafield tag="951" ind1=" " ind2=" "><subfield code="a">AR</subfield></datafield><datafield tag="952" ind1=" " ind2=" "><subfield code="d">49</subfield><subfield code="j">2014</subfield></datafield></record></collection>
score	7.398883

Nicht das Richtige dabei?

Schreiben Sie uns!

‘What a Carve up!’ The Eclectic Aesthetics of Postmodernism and the Politics of Diversity in some Examples of Contemporary British Verbatim Theatre

Nicht das Richtige dabei?

Zugang & Verfügbarkeit

Vorhandene Bände

Nicht das Richtige dabei?