2 Williams, Raymond's Keywords: A Vocabulary of Culture and Society first appeared in 1976 (London: Croome Helm) and made explicit Williams's lifelong project to explore the cultural meanings of words and how they shift over time. Several revised editions followed. In 2014 a new edition was published (London: Fourth Estate) in connection with the Keywords: Art, Culture & Society exhibition at the Tate Liverpool. Key Words: A Journal of Cultural Materialism is also the title of the journal associated with the Raymond Williams Society, and the Keywords Project is an independent research project hosted by the University of Pittsburgh.
3 ‘Editorial’, Contemporary Theatre Review, 23, 1 (2013), pp. 1–2.
4 Of a number of projects that attempt to recuperate and renew the legacy of the left, the most visible has been the conferences and publications organized by Slavoj Žižek et al. starting at Birbeck Institute for the Humanities in 2009. Publications include Douzinas, Costas and Žižek, Slavoj, eds., The Idea of Communism (London and New York: Verso, 2010); and Žižek, Slavoj, ed., The Idea of Communism, Vol. II (London and New York: Verso, 2013).
5 Williams, Raymond, Problems in Materialism and Culture: Selected Essays (London: Verso, 1980), p. 243.
6 Harvie, Jen, Fair Play: Art, Performance and Neo-liberalism (Basingstoke: Palgrave Macmillan, 2013), p. 16.
7 Williams, Raymond, ‘Drama in a Dramatized Society’, in Raymond Williams on Culture & Society: Essential Writings, ed. McGuigan, Jim (London and New Delhi: Sage Publications, 2014), pp. 161–71.
8 Williams, Raymond, ‘Culture Is Ordinary’, in Gable, Jim, ed., Resources of Hope: Culture, Democracy, Socialism (London: Verso, 1989), pp. 3–14, here p. 4.
9 Jim McGuigan, ‘Introduction’, in Raymond Williams on Culture and Society, p. 1.
12 Williams, Raymond, Marxism and Literature (Oxford: Oxford University Press. 1977), p. 132.
13 Grossberg, Lawrence, ‘The Future of Affect: Rediscovering the Virtual in the Actual’, in Seigworth, Gregory J. and Gregg, Melissa, eds., The Affect Theory Reader (Durham, NC: Duke University Press, 2010), pp. 309–38, here p. 310.
14 Stewart is quoting Williams, Marxism and Literature, pp. 133, 132. Stewart, Kathleen, Ordinary Affects (Durham, NC: Duke University Press, 2007), pp. 2–3.
15 Kruger, Loren, ‘Placing the Occasion: Raymond Williams and Performing Culture’, in Dworkin, Dennis L. and Roman, Leslie G., eds., Views beyond the Border Country: Raymond Williams and Cultural Politics (London: Routledge, 1993), pp. 55–71, here p. 60.
17 Kirle, Bruce, Unfinished Show Business: Broadway Musicals as Works in Process (Carbondale: Southern Illinois University Press, 2005); Wolf, Stacy, Changed for Good: A Feminist History of the Broadway Musical (Oxford: Oxford University Press, 2011); and Wolf, A Problem Like Maria: Gender and Sexuality in the American Musical (Ann Arbor: University of Michigan Press, 2002).
18 Anan, Nobuko, Contemporary Japanese Women's Theatre and Visual Arts: Performing Girls’ Aesthetics (Basingstoke: Palgrave Macmillan, 2015); McMahon, Christina, Recasting Transnationalism through Performance: Theatre Festivals in Cape Verde, Mosambique and Brazil (Basingstoke: Palgrave Macmillan, 2014).
19 Said, Edward, Culture and Imperialism (New York: Vintage Books, 1993), p. xxvii.
20 ‘Media, Margins and Modernity: A Conversation between Raymond Williams and Edward Said’, appendix to Williams, Raymond, The Politics of Modernism: Against the New Conformists (London: Verso, 2007), pp. 177–97, here p. 196. I am indebted to Benita Parry's analysis of the tensions between the two men in this conversation. See Parry, Benita, ‘Overlapping Territories and Intertwined Histories: Edward Said's Postcolonial Cosmopolitanism’, in Sprinker, Michael, ed., Edward Said: A Critical Reader (Oxford: Blackwell, 1992), pp. 19–47.
21 ‘Williams does not appear to recognize Black as anything other than the subordinate moment in an ideology of racial supremacy’. Gilroy, Paul, There Ain't No Black in the Union Jack: The Cultural Politics of Race and Nation (Chicago: The University of Chicago Press, 1987), p. 50.
22 Ridout, Nicholas, Stage Fright, Animals and Other Theatrical Problems (Cambridge: Cambridge University Press, 2006), pp. 3–4; Ridout, , ‘Performance and Democracy’, in Davis, Tracy C., ed., The Cambridge Companion to Performance Studies (Cambridge: Cambridge University Press, 2007), pp. 11–22, here p. 21.
23 Kelleher, Joe, Theatre & Politics (Basingstoke: Palgrave Macmillan, 2009), pp. 25–6.
24 Read, Alan, Theatre, Intimacy, Engagement: The Last Human Venue (Basingstoke: Palgrave Macmillan, 2008), p. 27.
26 In fact, the book appears within the book series that I have edited with Brian Singleton, Studies in International Performance for Palgrave Macmillan.
27 Fukuyama, Francis, ‘By Way of an Introduction’, in Fukuyama, , The End of History and the Last Man (New York: Avon Books, 1992), pp. xi–xxiii.
28 Kuftinec, Sonja, Theatre, Facilitation, and Nation Formation in the Balkans and Middle East (Basingstoke: Palgrave Macmillan, 2009); Thompson, James, Hughes, Jenny and Balfour, Michael, Performance in Place of War (London, New York and Kolkata: Seagull Books, 2009).
29 Lehmann, Hans-Thies, Postdramatic Theatre, trans. Jürs-Munby, Karen (Oxford and New York: Routledge, 2006), p. 175.
30 Lehmann, Hans-Thies, Das politische Schreiben (Berlin: Theater der Zeit, 2002), pp. 16–17. Cited and trans. by Woolf, Brandon, ‘Toward a Paradoxically Parallaxical Postdramatic Politics?’, in Jürs-Munby, Karen, Carroll, Jerome and Giles, Steve, eds., Postdramatic Theatre and the Political (London and New York, 2013), pp. 31–46, here p. 31.
31 Lehmann, Hans-Thies, ‘“Postdramatic Theatre”, a Decade Later’, in Dramatic and Postdramatic Theater Ten Years After: Conference Proceedings (Belgrade: Faculty of Dramatic Arts, 2011), pp. 31–46, here p. 34. Quoted in Jürs-Munby, Carroll and Giles, Postdramatic Theatre and the Political, p. 2.
33 See Jürs-Munby, Carroll and Giles, Postdramatic Theatre and the Political.
34 Causey, Matthew and Walsh, Fintan, ‘Introduction’, in Causey, and Walsh, , eds., Performance, Identity, and the Neo-political Subject (London and New York: Routledge, 2013), pp. 1–20, here p. 2.
35 Lehmann, Postdramatic Theatre, p. 178.
36 Bharucha, Rustom, Terror and Performance (Oxford and New York: Routledge, 2014), pp. 74–5.
38 Rancière, Jacques, The Ignorant Schoolmaster: Five Lessons in Intellectual Emancipation, trans. Ross, Kristin (Palo Alto: Stanford University Press, 1991), p. 2.
39 Rancière, Jacques, On the Shores of Politics, trans. Heron, Liz (London and New York: Verso, 1995), 32–3.
40 Hallward, Peter, ‘Staging Equality: On Rancière's Theatrocacy’, New Left Review, 37 (2006), pp. 125–6, emphasis in the original.
41 Rancière, Jacques, The Emancipated Spectator, trans. Elliott, Gregory (London and New York: Verso, 2009), p. 13.
43 Lavender, Andy, ‘Viewing and Acting (and Points in Between): The Trouble with Spectating after Rancière, Contemporary Theatre Review, 22, 3 (2012), pp. 307–26, here pp. 325–6.