The neglect of marginalized stakeholders is a colossal problem in both stakeholder and entrepreneurship streams of literature. To address this problem, we offer a theory of marginalized stakeholder-centric entrepreneurship. We conceptualize how firms can utilize marginalized stakeholder input actualization through which firms should process a variety of ideas, resources, and interactions with marginalized stakeholders and then filter, internalize, and, finally, realize important elements that improve a variety of related socioeconomic, ethical, racial, contextual, political, and identity issues. This input actualization process enables firms to innovate with marginalized stakeholders and develop marginalized stakeholder capabilities. To this end, firms fulfill both their moral and entrepreneurial claims to marginalized stakeholders.

Gay Sweatshop spent twenty-two years producing plays as Britain's first openly gay professional theatre company. Their alternative and political work primarily took the form of author-driven new writing, though experiments with performer-driven work intrigued the company from its earliest cabarets to its late phase of queer solo work under Lois Weaver. In this article, Sara Freeman pinpoints Sweatshop's tenth anniversary new play festival in 1985 as the moment when the company committed to new writing as a strategy for gaining greater legitimacy as a theatre group and as a central mode to encourage gay and lesbian voices and representation. She argues that while this had been the default mode of much 1970s political theatre including Sweatshop's, as it played out in the 1980s, a new writing strategy represented a move toward institutional stability as the locus of theatrical radicalism shifted aesthetics. In this analysis, the celebration of company anniversaries and the creation of festival events provided occasions for the company to experience the success or failure of its policies. Freeman is Assistant Professor of Theatre Arts at the University of Puget Sound. She is the co-editor of Public Theatres and Theatre Publics (2012) and International Dramaturgy: Translation and Transformations in the Theatre of Timberlake Wertenbaker (2008). Her recent publications appear in Modern British Playwriting: the 1980s. Readings in Performance and Ecology, and the forthcoming volume The British Theatre Company from Fringe to Mainstream: Volume II 1980–1994.

In the third volume of The Cambridge History of British Theatre (2004), editor Baz Kershaw initiates his chapter ‘Alternative Theatres, 1946–2000’ with a short discussion of ‘contesting terms’ used by commentators to describe theatre outside the mainstream in the second half of the twentieth century. Kershaw's discussion serves as a necessary preface to ground his use of multiple historiographical strategies to address the subject with necessary brevity. But teasing out the terminology used to describe alternative theatre remains a fascinatingly complex task, constitutive of precisely the issues at stake in the variant historiographical approaches to the post-war period. Using a genealogical approach inspired by Foucault, and drawing on first-person interviews with artists who worked with alternative theatre companies such as Joint Stock/Out of Joint, Gay Sweatshop, and Women's Theatre Group/The Sphinx across the closing decades of the twentieth century, Sara Freeman analyzes the branching relationships of these terms, arguing the need to develop useful rather than funerary or bewildered historiographical approaches to the 1980s and 1990s. Sara Freeman is Assistant Professor of Theatre at Illinois Wesleyan University. Her research focuses on contemporary women playwrights and British alternative theatre, and she has published articles and reviews in Theatre Survey, Modern Drama, Comparative Drama, New England Theatre Journal, and Theatre Journal. Work on this article was supported by an Artistic and Scholarly Development Grant from Illinois Wesleyan University.

The work of Joint Stock Theatre Company is the stuff of alternative theatre mythology. A self-defined socialist company that premiered plays like David Hare's Fanshen and Caryl Churchill's Cloud Nine, the group is known as one of Britain's most enduringly innovative alternative-theatre groups, in part because of those playwrights' success, in part because of such famous actors and directors as Max Stafford-Clark and Bill Gaskill, whose visions forged the group. But the history of Joint Stock's final years is not well known, despite the existence of a company history, The Joint Stock Book. Although it might seem that the group lost touch with its artistic imperative after 1985 and that it closed amid the generally harsh climate for alternative theatre created by the arts-funding policies of the conservative government of Margaret Thatcher (in office during 1979–90), that is not entirely true. Reorganized in 1985–6 to maximize racial and gender parity in the company, Joint Stock produced significant work and traversed important cultural and political terrain until 1989, when it closed both because of lost funding and because of the decisions of individual artists.

Nano-sized cerium oxide particles in the size range of 5 to 500nm have been synthesized for use in chemical mechanical planarization (CMP) applications. The CeO2 particles were prepared using cerium nitrate salts with bases such as ammonium water, ethylamine, or other alkylamine /polyalkylamine compounds. Other additives such as urea can be added to affect crystallization and size growth of the final particles. The particle sizes of the resulting CeO2 particles depend on the initial concentrations of cerium salts, additive concentration, and solution pH. Reaction duration seems to have little effect on CeO2 particle sizes. Temperature effects on size were moderate. These CeO2 particles showed excellent surface quality and desirable polishing rate during CMP tests.

The Lebanese-French playwright Andrée Chedid begins her play, Le Montreur (1967), with a song sung by ‘une—ou plusieurs—voix’. As the voice becomes voices become voice, the song addresses the audience saying, ‘Ce soir, ce soir, ce soir, amis, / Le Sire Montreur nous dévoilera: / L'unité et la pluralité des choses!’ Like the image of many voices among one voice, the trope of the ‘unity and plurality of things’ is arguably Chedid's vision of human consciousness—a consciousness that is both one and many; a consciousness that is embedded in a relationship with the other, which is figured as a connectedness that makes society. In Les Nombres (1965) and Bérénice d'Egypte (1962), through her writing and use of theatrical space and sound, Chedid constructs a unique vision of consciousness—configured as a vital empathy with the multitudes. She centres her revolutionary vision of consciousness on her women characters, who, by interacting with ‘the multitudes’ (le peuple, la foule, les nombres) open the possibility that human connectedness can make consciousness multiple and thereby transcends the dichotomies of self and other.