Beyond the Zero-Sum Game: Participation and the Optics of Opting

Frieze, James

doi:10.1080/10486801.2015.1020714

Cited by 3 publications

(1 citation statement)

References 2 publications

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“…The risk of pervasive anti-establishment performances is that they paint effective politics as antithetical to compromise, mutual gain, and mutual loss, as well as bringing about a state of affairs in which legitimacy is increasingly only legible for democratic audiences if claims to it are accompanied by the disavowal of previous institutional affiliation. While the competition between political parties in a two-party system has long been seen to play itself out as a zero-sum game (Frieze, 2015;Niou and Ordeshook, 2015), the institutions of the US federal government operate interdependently. As these institutions come to be perceived as engaged in a zero-sum game, compromise is increasingly dismissed as undesirable and requirements for effective campaigning and effective governing diverge sharply.…”

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confidence: 99%

Legitimacy as a zero-sum game: Presidential populism and the performative success of the unauthorized outsider

Peetz

2019

Contemp Polit Theory

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confidence: 99%

Legitimacy as a zero-sum game: Presidential populism and the performative success of the unauthorized outsider

Peetz

2019

Contemp Polit Theory

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Introduction: To Open

Zerihan¹

2022

The Cultural Politics of One-to-One Performance

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‘The majority has spoken’: performing referenda at the National Theatre

Overend

Heath

2019

Studies in Theatre and Performance

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The Majority was performed at the National Theatre of Great Britain in August 2017. Ostensibly a one-man show, written and performed by Rob Drummond and directed by David Overend, the play explores democracy, dissent and abstention through the story of the author's challenging encounter with a far-left activist in rural Scotland. Utilising audience voting technology to intersperse and inform the narrative with a series of 'mini referenda', the play cautions against shouting at each other across the void, instead advocating a more measured, considered and open approach to engaging with those with whom we disagree. Based on an analysis of in-performance audience participation data, this article identifies unexpected correlations and reveals hidden trends and tendencies. It argues that voting theatre operates as a temporary space from which to test, interrogate and rehearse the wider processes of electoral politics. However, the article also considers the productive tensions at play between the reductive binary of the votes and their affective and emotional context. This complicates a straightforward comparison of the 'social performances' of voting in theatre to voting in elections and referenda.

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Beyond the Zero-Sum Game: Participation and the Optics of Opting

Cited by 3 publications

References 2 publications

Legitimacy as a zero-sum game: Presidential populism and the performative success of the unauthorized outsider

Legitimacy as a zero-sum game: Presidential populism and the performative success of the unauthorized outsider

Introduction: To Open

‘The majority has spoken’: performing referenda at the National Theatre

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