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This book explores what happens to socially committed performance when state systems of social security are dismantled. Since 2010, a punishing programme of economic austerity and a seismic overhaul of the Welfare State in the United Kingdom has been accompanied by an ideological assault on dependency; a pervasive scapegoating of the poor, young, and disabled; and an intensification of the discursive relationship between morality and work. This book considers the artistic, material, and ideological consequences of such shifts for applied and socially engaged performance.
Performing Welfare reveals how such arts practices might reconstitute notions of work and labour in socially constructive ways. It focuses on the political potential of participation during a period in which classifications of labour and productivity are intensely contested. It examines the migration of discourses from state policy to the cultural sector; narratives of community and aesthetics of dependency; the paradoxes of visibility in creative projects with stigmatised participants; the implicit relationship of participatory performance to neoliberal productivity; and, the parallels between gendered divisions of labour, social reproduction, and applied performance.
It will appeal to students, scholars, and practitioners interested in applied and socially engaged performance, participation, community, representation, the welfare state, social policy, labour, and unemployment.
Sommario
1. Introduction: Performing Welfare.- 2. Arts and Employability: Migrating Discourses of Skills, Creativity, and Competition.- 3. An Aesthetics of Dependency: Reflecting a Rhetoric of Individualism and Promoting Practices of Collectivity in Community Performance.- 4. Visibility, Invisibility and Anonymity: Materialising Communities and Navigating the State in Collective Action.- 5. Biopolitics and The Unemployed Body in Applied Performance: Staging Labour, Disrupting Productivity, and Contesting Categorisation.- 6. Female Unemployment, Social Reproduction and Economies of Labour in Applied Performance.- 7. Conclusion: Reimagining Creative Acts Under Austerity.
Info autore
Sarah Bartley is a Lecturer in Drama, Theatre, and Performance Studies at Queen Mary University of London, UK. Her research examines the intersections of work, participation, and performance at play within socially engaged and applied theatre practices. She has previously published in
Contemporary Theatre Review and
Research in Drama Education: The Journal of Applied Theatre.
