| Popis: |
This chapter charts the prominence of democracy as a concern across theatre and performance in the 2010s and proposes an affective turn in the discipline’s examination of texts and performances dealing with democratic matters. Building upon recent contributions on democratic theory, passions and populism, Delgado-Garcia suggests probing what democracy feels like, the function and effects of such feelings and the ways theatre may compose, diffuse or suppress affects. David Greig’s The Suppliant Women (2016) is presented as a model for such an enquiry and offered as representative of a broader stance in British theatre, whereby a strong attachment to democracy is performed despite the negative affective and material states democracy is shown to produce and legitimate. |
