This 1999 book discusses the ways performance is central to the practice and ideology of Athenian democracy.

Democracy, argues David Wiles, is actually a form of theatre. In making his case, the author deftly investigates orators at the foundational moments of ancient and modern democracy, demonstrating how their performative skills were used to try to create a better world. People often complain about demagogues, or wish that politicians might be more sincere. But to do good, politicians (paradoxically) must be hypocrites - or actors. Moving from Athens to Indian independence via three great revolutions – in Puritan England, republican France and liberal America – the book opens up larger questions about the nature of democracy. When in the classical past Plato condemned rhetoric, the only alternative he could offer was authoritarianism. Wiles' bold historical study has profound implications for our present: calls for personal authenticity, he suggests, are not an effective way to counter the rise of populism.

Explores the potential of movement to create and revise historical narratives of race and nation

Mid-fifth-century Athens saw the development of the Athenian empire, the radicalization of Athenian democracy through the empowerment of poorer citizens, the adornment of the city through a massive and expensive building program, the classical age of Athenian tragedy, the assembly of intellectuals offering novel approaches to philosophical and scientific issues, and the end of the Spartan-Athenian alliance against Persia and the beginning of open hostilities between the two greatest powers of ancient Greece. The Athenian statesman Pericles both fostered and supported many of these developments. Although it is no longer fashionable to view Periclean Athens as a social or cultural paradigm, study of the history, society, art, and literature of mid-fifth-century Athens remains central to any understanding of Greek history. This collection of essays reveal the political, religious, economic, social, artistic, literary, intellectual, and military infrastructure that made the Age of Pericles possible.

Specially written for students and enthusiasts, David Wiles introduces ancient Greek theatre and cultural life.

Judson Dance Theater involved such collaborators as Merce Cunningham, Yvonne Rainer, Steve Paxton, Carolee Schneemann, Trisha Brown, Robert Rauschenberg, David Tudor, et al.

This book combines performance analysis with contemporary political philosophy to advance new ways of understanding both political performance and the performativity of the politics of the street. Our times are pre-eminently political times and have drawn radical responses from many theatre and performance practitioners. However, a decade of conflict in the Middle East and Afghanistan, the eruption of new social movements around the world, the growth of anti-capitalist and anti-globalisation struggles, the upsurge of protests against the blockades of neoliberalism, and the rising tide of dissent and anger against corporate power, with its exorbitant social costs, have left theatre and performance scholarship confronting something of a dilemma: how to theorize the political antagonisms of our day? Drawing on the resources of ‘post-Marxist’ political thinkers such as Chantal Mouffe and Jacques Rancière, the book explores how new theoretical horizons have been made available for performance analysis.