Suchergebnisse

In diesem Band veröffentlichen Theaterleute und namhafte Publizisten ihr Plädoyer für das Theater. In ihren Texten beschreiben u.a. Raddatz, Steckel, Beilharz, Flimm, Greb, die gesellschaftliche Notwendigkeit des Theaters und argumentieren für die Finanzierung der Stadt- und Staatstheater aus öffentlichen Mitteln durch Kommunen und Länder. Mit einem einleitenden Essay von Peter Iden. (3)

Abstract
Spectacle is central to protest efficacy, yet the term performance has a history of being used pejoratively to discredit both protestors and their causes. This deflects analysis from the ubiquitous tactical performances enacted by institutional representatives themselves. Following Cape Town mayor Dan Plato's 2020 dismissal of an eviction resistance on the grounds that it was a "staged act," this article identifies various repertoires of performative intimidation enacted by local authorities against South African land occupiers during 2019–22. These staged acts were strategically performed with a dual audience in mind: one direct and the other, necessarily, oblique. In recasting such repertoires as rational actions in response to radical acts, municipal officials control the means of identifying and critiquing cynical public performance.

Urban sociologist, Virág Molnár, reviews the books No Billionaire Left Behind and Thank You, Anarchy. The books examine satirical activism and Occupy Wall Street's mix of direct democracy and anarchism as examples of unconventional political protest in the contemporary United States.

"The promotion of the rule of law has become a multi-billion dollar industry and a mainstay of contemporary development policy. A dose examination of the now extensive body of literature that has been generated in and around this work reveals an elaborate worldview consistently embedded and insistently reproduced through project activities - for example, that aim to 'modernise' judiciaries, 'update' laws and eliminate corruption - as well as through the relations between host states, non-governmental organizations and global congeries of financing institutions and investment mechanisms. In this paper the author characterises rule of law promotion as a form of theatre: the staging of a certain morality tale about the good life. Rule of law promoters do not attempt to demonstrate the rightness of their propositions through empirical evidence (there is little), nor through reasoned argument (it is not open for debate), nor through historical analogies (there are none). Rather, the field bases its appeal on the force of repeated narratives involving the reproduction of a set of immutable themes (e.g. governance, corruption, privatisation, transparency, accountability, impunity, and judicial independence) that incorporate a recurrent group of morally-tagged actors (e.g. civil society, the judiciary, 'the poor', public officials, and 'reform-minded constituencies'). This paper provides an account of the latent theory that animates the theatre of the rule of law." (author's abstract)