The British theatre economics and management in the 1990s as an effect of Thatcherite capitalism
This thesis will examine theatrical changes which were taken place in Britain in the 1990s as an influence of Thatcherite capitalism. There are two bases in developing that subject. The first is that arts subsidy, namely, money, has been more responsible for the changes than directors and playwrights have. The second is that the changes were basically undesirable, because they resulted in the dominance of capitalist values in theatre, under which theatre companies inevitably compete with each other, and are, thereby, increasingly inclined towards safe, popular, commercial products. By contrast, alternative oppositional activities that can play a role in checking and balancing the dominant capitalist cultural values becoming marginalised. It can be, thus, said that this thesis will critically explore the undesirable legacy of Thatcherism on the theatre economics and management of the 1990s.To this end, it will examine several sub-subjects. Chapter I deals with the British politics and economics of the 1980s and 1990s as background for the changes which also took place in theatre during the 1980s and 1990s. Chapter II will explore the two different attitudes of the Arts Council which has been in charge of distributing money [arts subsidy] to theatre companies since its formation in 1946; one prior to Thatcher's government and the other during Thatcher's government of the 1980s. Chapter III will examine the general theatrical economics and management of the 1990s. Chapter IV will deal with money from the national lottery in order to see how much it has contributed to theatre companies in terms of theatre economy. Chapter V is a case study to illustrate how the West Yorkshire Playhouse as one of the leading regional theatre companies has been managerially affected by post-Thatcherite theatre economy. Chapter VI is another case study to illustrate how Red Ladder as one of the leading political theatre companies in the 1970s has been deradicalised by Thatcherite capitalism in the 1980s and post-Thatcherite theatre economy of the 1990s.This thesis, with its critical tone on the changes, will illustrate, implicitly or explicitly, ways by which the undesirable state of the British theatre in the 1990s may be rescued. At the same time, I hope this thesis to serve as a ground for debates for the betterment of the British theatre in the future.