Abstract
Drawing on the theories of Antonio Gramsci, Jill Dolan, and Chantal Mouffe, the author argues that certain community-based theatre practices--specifically those exemplified by Tim Miller and Cornerstone Theater Company--are modifying traditional models of political theatre. Miller's work identifies and mobilizes politically active communities based on affective rather than essential commonalities. At the same time, Cornerstone's rehearsal process models a means of staging and valuing disagreements and tensions that inevitably arise between such political/communal identifications.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
