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Silk and Bullets Dramatising Fascism and Resistance: Recreating a Membrane between Past and Present
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play (especially, of course, in the scenes set in the 1940s, but also in relation to the issues confronted by characters in the contemporary sections of the play); and the third locates Silk and Bullets in relation to the larger socio-economic and cultural post-war story and the neoliberal revolution, a topic which is central to the
‘argument’ of the play about the relations between past and present, about the emergence of collaboration between business and the politics of fascism, and about resistance. This last part also draws on examples of post-war British and occasionally American drama to demonstrate the ways in which the theatre has
remained an important vehicle for political and economic commentary. The main aim of the research project was to arrive at a dramatic structure of epic shape which could encompass and articulate the complex relationships between collaboration with and resistance to fascism, the mechanisms and processes of
these relationships in the past, and the recurrent features of such mechanisms and processes during the neoliberal revolution. A second aim was to find a means of representing in a dramatically satisfactory form how the presentation of the past remains an on-going project, relevant to the experience of the present.
Some additional interdisciplinary areas of research were a part of the contextual background of the project. Frank Lloyd Wright’s architecture, which emphasises the dialectic dynamic of inside and outside, interior and exterior, plays a role in the dramatic structural and spatial considerations of Silk and Bullets. Ronald D.
Winnicott’s concerns in the field of relational psychoanalysis inflect the themes of the play as well as the social and political considerations of the project. Above all the play and the whole project pay attention to the field of political economy and its role in historical processes. The project recognizes the ongoing challenges involved in negotiating history and politics in dramatic form. The play and the exegesis are contributions to that negotiation.