This chapter analyses the discourses and practices of the creative economy and reveals its fraught relationship to forms of labour and leisure it has supposedly replaced. The conversion of the Nantes shipyards into a tourist and cultural destination and base of operations for street theatre company La Machine has reconfigured the site as both public space and workspace. In keeping with the model of the creative city, spectators are invited to actively participate in the project, but this chapter questions the nature of that participation. The chapter further demonstrates that La Machine company members must simultaneously be industrial workers and replace them; they embody past repertoires even as they herald a post-Fordist transition to affective or immaterial labour. Ultimately this urban redevelopment project and its theatrical components must promote the selective memory of industry's success while smoothing over the rupture of its collapse.
There are an extraordinary number of autobiographies written by British female theatre professionals working during the period. This generation of actresses and female performers were concerned, in part, with locating themselves in a public culture of self-affirmation and reflection. Their autobiographic writing evidences an awareness of the growing interest in their activities as public figures and practitioners, in a labour market where women were now becoming firmly professionalised. The chapter explores how their ‘autobiographic confessional histories’ can be read as a body of work, as cultural interventions that make an explicit contribution to our understandings of the development of professional theatre practice more generally, during the era.