Information as Power and the Crisis of Autonomous Thought in Caryl Churchill's Love and Information
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This paper examines how Caryl Churchill's Love and Information (2012) critiques contemporary informational capitalism by dramatising the ways in which information functions as a pervasive mechanism of control, commodification, and governance. Through its fragmented form, episodic structure, and indeterminate casting, the play immerses audiences in the disorienting conditions of an information- saturated world, where perception, thought, and affective interaction are increasingly shaped by algorithmic systems. Analysing both content and form, the study demonstrates how Churchill reveals the transformation of human subject into data-producing entities, while simultaneously foregrounding affective experiences—such as love, depression, and memory—that resist informational reduction. By referencing productions by James Macdonald and Caroline Steinbeis, the paper also explores how theatrical techniques enact the lived rhythms of informational capitalism. Ultimately, Love and Information invites ethical and political reflection on the conditions of subjectivity under algorithmic governance. Churchill's dramaturgy not only critiques the ideological systems masked by convenience and personalisation, but also proposes theatre as a vital space for rehearsing resistance and reaffirming the enduring capacities of human consciousness and agency.
Abstract
This paper examines how Caryl Churchill's Love and Information (2012) critiques contemporary informational capitalism by dramatising the ways in which information functions as a pervasive mechanism of control, commodification, and governance. Through its fragmented form, episodic structure, and indeterminate casting, the play immerses audiences in the disorienting conditions of an information- saturated world, where perception, thought, and affective interaction are increasingly shaped by algorithmic systems. Analysing both content and form, the study demonstrates how Churchill reveals the transformation of human subject into data-producing entities, while simultaneously foregrounding affective experiences—such as love, depression, and memory—that resist informational reduction. By referencing productions by James Macdonald and Caroline Steinbeis, the paper also explores how theatrical techniques enact the lived rhythms of informational capitalism. Ultimately, Love and Information invites ethical and political reflection on the conditions of subjectivity under algorithmic governance. Churchill's dramaturgy not only critiques the ideological systems masked by convenience and personalisation, but also proposes theatre as a vital space for rehearsing resistance and reaffirming the enduring capacities of human consciousness and agency.