We are witness to the postmodern turn (Best & Kellner, 1997) in theatrics of late capitalism, where the global stage has fragmented into a 1,000 local theaters, in an eternal struggle between spectacle and carnival, where festival is hard to perform. Transnational corporations market a spectacle of happiness, a future of plenty, and a sustainable facelift to nature. Meanwhile the global corporate spectacle performances are met at each performance by a carnival performing street theater, typing their critical reviews on the Internet, exposing the methodology of illusion with satire and parody.  If I could be a fly on the wall in the corporate rehearsals, to see what metascripts are being authored behind those closed doors of the WTO and in the corporate "war rooms" where theater is used for strategic purposes. Then, I would have some clue as to just how the methodology of spectacle illusion is concocted, and how theater is crafted to be more real than reality itself. Life is after all, just theater.

The purpose of this essay is to illustrate how the global stage of late capitalism is implicated in the Theatrics of the Tamara play.  My thesis is simply that corporate theater is a refined and carefully scripted repertoire of theatrical illusions, but as these intermingle with the movements of anti-globalization and their penchant for the carnivalesque, sometimes the theater and counter-theater spins out of authorial control and into the abyss of chaos.

This systemic I hope to understand using Tamara. Tamara is experimental postmodern theater (Simard, 1984; Geis, 1993), a play in which wandering audiences divide and chase a dozen actors on a dozen simultaneous stages never able to see all the action at once (Boje, 1995). The Global Theater is a 'Tamara-land' of many stages, wandering audiences chasing characters from stage to stage, to trace the web of storylines. And off-stage there are characters that never seem to make it into the carefully scripted storylines, the animals in the slaughterhouse and the women and children in the apparel sweatshops. There is violence that interpenetrates postindustrial production that somehow is absent from the Global Theater of postmodern designer-lifestyle culture. And Tamara is a way to explain how this absence is sustained.

Tamara of many simultaneous stages

Wandering audiences chase the storyline from stage to stage

Consumption and production are separated

The experience of consumption is detached from conditions of labor

Working conditions becomes an invisible part of the context

Spectacle images become the fabric for self-images

When there is immersion into the consumption experience, the spectator becomes a self-reflective actor, no longer standing aloof and observing 'reality out there'

To participate in the spectacle is to become aware of where products come from and who makes them under what conditions, and to make more festive choices

Global Theater disperses spectators to different stages with different themes of localized immersion.

The spectator is never able to grasp the networking of all the stages and all the characters on and off the stage.

Postmodern theater is a Tamara-Land of many stories and storylines, on many stages with a fragmenting audience participating on the stage of production and consumption in an examination of the spectacle illusions and mystifications of Global Theater. These are stories without beginnings or endings. We always seem to enter in the middle of a story and a performance of theatrics that is just not linear.  There are twists and turns, restorying at every stage, but never an ending (though many are proclaimed; they seem to just unravel).

I have been working for several years to develop a global perspective on theatrics that builds upon the spectacle work of Guy Debord (1967), the carnivalesque resistance theory of Mikheal Bakhtin (1973), and the potential for what Victor Turner (1967; 1982) said was carnival, but I see as festival, a more Dionysian play or folkloric rites of passage (Boje, 2000a,b; Boje & Rosile, 2000; Boje, 2001d, f, g, h; Rosile, Best & Boje, 2001). For Bakhtin (1973: 7) "Carnival is not a spectacle" rather it is something lived and embraced by people. He goes on to say "While carnival lasts, there is no other life outside it. During carnival time life is subject only to its laws, that is, the laws of its own freedom" (Bakhtin, 1973: 7).

I have my own definitions of spectacle, carnivalesque, and festival. Note, I understand all too well that one is appropriated by the other, such as the festival events that attract gamblers into the spectacle resort theme park hotels in Las Vegas, or the carnival that is aped by spectacle to use self-parody to market to recalcitrant niches. Each appropriates the others. These are only ideal starting points.

Spectacle can be total manipulation of meaning-making processes through theatrical events to serve the production of power and managerial needs to control and spin a good story in the face of bad news.

Carnivalesque refers to strategies of resistance to power and hegemony that take the form of culture jamming, street theater, and varied forms of parody and satire of state and capital forms of power.

Festivalism is respect for all species, all life; it is the ultimate Ahimsa (practice of non-violence). Festivalism transcends global racism, by purchasing garments made by workers paid a living wage, purchasing non-logo goods by workers who are not wage slaves to predatory capitalism.

This is an inquiry into the fragmented network of fragmented performances that result in most people never seeing all the stages or all the characters, or the interconnections among the stages. Behind spectacle, carnival, and festival, just off stage is the methodology of theatrics. For spectacle it is a repertoire of illusions, for carnival it is the task of bringing the back stage on stage, and for festival, life is theater. 

Nike Tamara is, for example, the spectacle of illusory methods, a fakery conversation in which stories and counter-stories, and deconstructions of others’ stories is the currency of global theatrics (Boje, 2001). The Nike Tamara-Land has a rhythm, a history, and is forever restorying its collective memory. Figure One gives examples of the players in Nike Tamara-Land, the storytellers, the stages, and postmodern carnivalesque forms of resistance, and Nike's storytelling machine.

Key

GA - Global Alliance for Workers and Communities
FLA Fair labor Association
PwC - PriceWaterHouse Coopers
USAS - united Students Against Sweatshops
WRC - Workers Rights Consortium

Nike (more than Reebok, Adidas, or New Balance) deploys highly aggressive PR campaigns to diminish coverage of the anti-sweatshop movement. This keeps Nike at center stage andfends off the truth claims of the burgeoning anti-sweatshop movement.  I contend that there is an ongoing battle of theatrics between the anti-sweatshop NGOs who exercise forms of postmodern carnival (in sense of Bakhtin), staging anti-sweatshop fashion shows, boycotts of NikeTown, Footlocker, university apparel stories, and shareholder meetings --- and the spectacle theatrics of the media-savvy Nike "war room" (Nike's Terminology) who script and enroll such characters as GA, FLA, PwC, along with Nike advertising to promote a stable of star personalities and sports teams to appeal to spectator fetish for heroic plots (Boje, 2001a, h).

What is backstage?

Nike's War Room - Inside Nike, is a “war room” (their emic term). Dusty Kidd, former Ernst & Young auditor (now VP of Labor Practices) heads up the war room, along with Amanda Tucker, formerly of the ILO, Veda Manager (hired in 1997 as Nike’s director of Global Issues Management), who tracks the activist protests on universities and NikeTown, Todd McLean, who flies around the globe putting out fires, and finally Maria Eitel, Nike’s VP and Senior Advisor, Corporate Social Responsibility. Like a war room in a political campaign, the job of the 95 staff members and VPs is to combat one Nike scandal after another. Nike maintains a network of spies through its FLA affiliate universities that give early warning of factory, campus or NikeTown visits and demonstrations. I picture a room where on the wall pictures and dossiers of activists adorn the walls like wanted posters. Security forces and off-duty police can then be dispatched like bounty hunters to the scene (See Boje, 2001a for more on "war room").

And it is an inquiry into the spectacle theatrics sustained by the 'absent referent' and able to keep the "referent" absent from the public mind.

Behind every spectacle is an absence: the material reality of production whose place we see the theatric performance. The "absent referent" described by Adams (2000) is that which separates the spectator or consumer from production or worker by substituting a simulated referent. For example in the meat industry "the function of the absent referent is to keep our 'meat' separated from any idea that she or he was once an animal, keep the 'moo' or 'cluck' or 'baa' away from the meat, to keep something from being seen as having been someone" (Adams, 2000: 14). And it is not just the meat industry.

Photo 1 - Nike Spectacle Greets Anti-Sweetshop Carnivalesque Theater

This is a photo of the spectacle of media-coverage of Tiger Woods (off-stage) who is being escorted out of camera-view by the Nike entourage in a hotel in Thailand. You can see women Nike workers holding up a banner that says "Tiger Woods: Stop Putting Around" (For more See Boje, 2000). Tiger Woods signed a sponsorship agreement in September with Nike for 5 years worth $100 million. With all winnings and endorsement earning this year, Tiger Woods will get $55,000 a day. A Thai worker would have to work for 14,000 days or 38 years to receive the same amount. One of the Nike workers is dressed as an executioner swinging a Swoosh (Golf-Ax). 100 sacked Nike employees in Bangkok staged this carnival of resistance, wanting to get Tiger Woods, who was in town performing in the Johnnie Walker Classic (and aware that his mother is Thai) to pose for a photo-opportunity in their carnival theater. A phalanx of Nike bodyguards and officials insured that no such photo would happen. The 100 demonstrators said they were part of a group of 1,016, mostly women workers who were still waiting to be compensated a total of 41 million baht (932,000 dollars) after being laid off by Nike in September. You know I asked a Nike executive (Amanda Tucker) in a conference panel session, we shared in New Orleans, about these women. Her reply, "that is not a Nike factory." Clever. The factory contract is void, the contract having moved out of Bangkok into peasantariat regions of Thailand where women are less apt to engage in the carnivalesque theater of Photo above.

What if Tiger Woods were to "see," "touch," and "hear the voice" of the absent referent? Would seeing the exploitative labor conditions of young women working in Nike factories in Thailand result in a shift in Tiger Woods' choice of corporate endorsement contracts? "He should be able to really understand why that company can give him so much money," said Thai Labour Committee official Lek Junya Yumprasert (See Boje, 2001b for more on Stories of Thailand). While Michael Jordan made repeated (empty) promises to visit Nike factories in Asia and see for himself the labor conditions, Tiger Woods keeps a Swoosh in his mouth (See Photo Exhibit 7 ).

In the theatrics of advertising garments, Nike, Gap, and Wal-Mart do not display the suffering lives of women working in sweatshops to sell their goods. These women, the producers of the apparel, are the absent referents, while on the global stage, Michael Jordan, Tiger Woods, and Kathie Lee Gifford, or some Barbie-model delivers a substitute performance.

Once the production of goods and services is disconnected from the existence of people who are 'sweated' and animals who are 'killed' various free-floating images become the referent and substitute.

Photo 2: "Absent Referent" Photos of Athletic Apparel Women Resisting their Quality of Work Life

Who could stare into the faces of these women and children making garments (or in the "meat industry" foxes about to become coats, or the lamb on its way to the dinner table) -- and not identify with those we are about to consume?

The absent referent must have a suitable substitute, so the play can go on. In Global Theatrics, the absent referent and the substitute referent (celebrity and sports heroes) are ubiquitous, a necessary condition for the illusion to continue. In the language substitutes for reality, sweat-work becomes wage-work, and animal slaughter becomes gourmet-cuisine. The spectacle presents plays with many reversals. The resistant worker is presented as the obstacle to Third World economic development, the animal is presented as the source of life, the savage is presented as the cannibal, the white man is presented as the enlightened, and the feminine is presented as the weaker. Nike, Reebok, Adidas, and New Balance are restoried by spectacle theatrics as heroic saviors of women of the Third World.

The spectacle illusion depends upon fragmenting the relation between consumer and producer. In Tamara, we as spectators to the global economy, do not follow our consumption habits, from the stage of the mall displays, backstage to the warehouse, along the truck routes to the manufacturer, to China, where most manufacturers are settling, to the shop floor where forced overtime and poverty wages and even a beating are part of the daily reality of production. Spectators are not able to confirm with their own eyes, hearing, touch, and smell the oppression of animals or women, and instead their attention is drawn to the thousands of daily advertisements that say the exploitation is not real. And it is an attention sustained in the Business College.

By now you know I am an activist opposed to sweatshops, global racism, corporate colonization, meat-eating, the animal slaughter and human terror that sustains late global capitalism. My theory and my practice are connected: I am a vegetarian and I refuse to wear clothing that comes from factory houses of terror. I have begun my Naked Feet campaign of pacifist protest, until Nike, Reebok, Adidas, and New Balance will let me into their factories, to record the women workers' stories, and guarantee what happened to Lap Nguyen, will not happen to the women who disclose their personal experience narratives.

Photo 3 Naked Feet Campaign

Boje's NAKED FEET Pacifist Protest  - When will Nike, Reebok, Adidas, and New Balance allow us access to their SECRET factories, the ones academics do not get to see on the Virtual Tours.

Through spectacle, the majority of the world who are primarily vegetarian or who live on poverty wages making the products (over) consumed by the First World remain hidden backstage, the conspicuously absent referents to global capitalism. On stage the spectacle presents the path to health and wealth as total and self-determined, and the belief that meat equals health and sweatshop is a necessary condition of economic development. This script is an addiction, entrenched in the attitudes of the spectators to Global Theater. The consumer is in denial, but so is the Business College.

Postmodern Theater is about restoring a poly-historical, multi-perspective, and ideological critique of coherence (Currie, 1998; Geis, 1993; Simard, 1984). In postmodern Organization Theater, the spectator becomes the center of spectacle, instead of a detached, passive and distant spectator, estranged from the theater of cruelty of late capitalism. The spectator is now the 'spect-actor' (in Augusto Boal's terms) deciphering acts of consumption, tracing foods and apparel through the house of spectacle mirrors to the hidden systems of their production. Nike, for example, says it keeps the location of some 730 factories a secret to protect its competitive advantage. Yet, many activists contend that the factories are hidden for other reasons (Boje et al., 2000). Blurring the line between audience and actor places spectator more directly into a self-reflective gaze at production and consumption to observe the violence to self and others. Hiding the factories prevents spectators from making emancipatory choices.

The sexual and racial politics of manufacturing, the movement of resources from the women of Third World to the closets of the First World, is an Off-Off Broadway production (Saner, 1999). It is Off-Broadway, Street Theater, that bound the diverse activist groups in combined protest against the WTO. The problem I would like to pose is as follows: there are fewer Global Theaters performing the kinds of theatrics that include the absent referents, that place the backstage performers center stage, so the spectators can see their reality and then pronounce the spectacle performances to be fallacious and mythic. In the nation by nation and race by race segregation of work tasks, spectators and workers, animals and consumers do not meet face to face.

Dark Side of Postmodern Organization Theater - Critical theater can transform the (uncritical theory of) Burkean act, agency, scene, agency, and purpose of organization-as-theater into festive improvisations and carnivalesque satire that disrupt the coherent theatrics of the spectacularity of modern organizations. The slow food movement, a reaction to McDonaldization of fast food, is known an Italy as the Convivia movement, a festive contrast to the spectacle of fast food. Convivia celebrates the festival of life, where food means community. To remove McDonalds from the center (spectacle) stage is to threaten the structure of predatory capitalism and patriarchal culture. The meat and apparel industry is threatened by bringing production onto the center stage, in carnivalesque (acts of the grotesque) and horrified at removing the veil from eyes of the spectator. Acts of festive or carnivalesque self-reflection, on the manner in which products are made, who makes our consumables, the toxicity of ingredients, and the conditions ecology must remain mysteries the spectator is unable to resolve in spectacle theater of mass advertising and the science fakery of consulting (hired) science reporting.

NikeTown Theatrics (Spectacle and Carnival) - Nike has pre-Tayloristic sweatshops where 720,000, mostly young women (16 to 23 in age) are paid pennies per hour, while PR celebrities are rewarded with millions (for more on Post-Taylorism see Besson &Haddadj, 2000; Boje et al, 2001 Athletic Apparel Research Project). This disparity can be explained by the cost of actors enrolled in Nike's Postmodern Organization Theater, who are being resisted by a global carnival of "free" street performances.

Photo 4: NikeTown Melbourne

The caption on the NikeTown-Melbourne image is "At the entrance, timing and vision take center stage."

This spectacle of postmodern architecture, moving postmodern theatrics, and sports hero worship and fetishism playing in NikeTown theater, is being opposed by more carnival theatrics.  For example, to give the carnivalesque protests against NikeTown in Melbourne critical theatrical review space in mainstream media is a threat to metascript messages of Nike spectacular theater with three quarters of a billion invested each year in celebrity and sport teams to keep the public gaze on icons instead of absent referents. For example, on June 10th, 2001 a Melbourne protest of NikeTown took on all the theatrics of carnival (Elder, 2001). The carnival (writer calls it a circus) is in its 10th week, showing no signs of ending.

Each Friday, the carnival players from "Fair Weather Campaign," perform anti-sweatshop theater, erect human barricades in front of NikeTown in Melbourne. Leaving gaps fro the customers to enter, none dare pass beyond the protest players to the spectacle engagement of security guards and police dressed in riot costume, complete with mounted horse infantry.

Photo 5 Exhibit: JUNE 9, 2001- Melbourne Protests and Police Violence http://groups.yahoo.com/group/MainLineNews/message/16147

There is the added advantage of an "offensive" spectacle theatrics: keeping Nike in the media spotlight, but now on their own terms.  Adbusters (2001) points out that "if Nike turns culture jamming into a corporate mindfuck at the expense of sweatshop laborers, then we, too, can shift tactics." 

In the Nike Tamara (See Figure 1), there is a danger that dynamic chaos effects will be set off, by such simple-seeming marketing strategies as faking billboards and faking the signatures of "the saboteurs." The anti-sweatshop movement can be provoked into escalating their "unswooshing" tactics from culture jamming "brand damage" logo-graffiti, to acts of property damage, and the kinds of street theater we witnesses in the Genoa Eight protests. Each actor in Nike Tamara-Land Global Theater has its bag of tricks, pranks, and illusions.

If you debase our discourse, if you blur the line between authentic process and corporate spin, if you openly fan the fires of cynicism, then you are going to get stung (Lasn, Adbusters, 2001).   

Figure 2- The Nested Frames of Spectacle, Festival, and Carnival

IS THIS SPECTACLE? ALL STATEMENTS WITHIN THESE FRAMES ARE GRANDILOQUENT AND ALLURING: Media defines happiness by consumption and progress by global business. IS THIS FESTIVAL? ALL STATEMENTS WITHIN THESE FRAMES ARE JOYFUL AND HAPPY: Live for today, be in the now. IS THIS CARNIVAL? ALL STATEMENTS WITHIN THESE FRAMES PARODY AND RESIST POWER: This Fashion show presents the brands made by women in sweatshops IS THIS A  POSTMOD GAME? ALL STATEMENTS WITHIN THESE FRAMES ARE UNTRUE: There are no sweatshops; our codes of conduct control excess; these are great jobs IS THIS TRUTH? ALL STATEMENTS IN THIS FRAME ARE TRUE: We are not being who we can be.

Adams, C. J. (2000). The Sexual Politics of Meat: A Feminist-Vegetarian Critical Theory. 10^{th Anniversary Edition. NY: The Continuum Publishing Company.}

^{Bakhtin, Mikhail M.  (1973). Rabelais and His World. Translated by Hé lè ne Iswolsky. 1st ed. Cambridge: MIT Press.}

Besson, Dominique & Haddadj, Slimane (2000) Towards a post-Taylorian approach to Taylorism. Special guest issue of Journal ^{of Organizational Change Management. Vol. 13: (5).}

^{Best, Steve & Douglas Kellner (1997). The Postmodern Turn. NY/London: Guilford Press.}

^{Boal, Augusto (1995). Rainbow of Desire, The: The Boal Method of Theatre and Therapy. NY: Routledge.}

Boje, D. M. (1995). Stories of the storytelling organization: A postmodern analysis of Disney as 'Tamara-land.' Academy of Management Journal. 38 (4), 997-1035.

Boje, D. M. (2000a). Theatrics of Control. http://business.nmsu.edu/~dboje/pages/theatrics_of_control.htm

Boje, D. M. (2000b). Festivalism at Work: Toward Ahimsa in Production and Consumption November 2, 1999; Updated September 7, 2000. Book chapter prepared for Jerry Biberman and Mike Whitty (Eds.) The Spirit and Work Reader University of Scranton Press, to be published 2000. http://business.nmsu.edu/~dboje/papers/Festivalism_at_Work.html

^{Boje, D. M. (2001a). Antenarrating, Tamara, and Nike Storytelling. Paper prepared for presentation at “Storytelling Conference” at the School of Management; Imperial College, 53 Prince’s Gate, Exhibition Road, London, July 9th, 2001. http://business.nmsu.edu/~dboje/papers/ethnostorytelling.htm}

^{Boje, D. M. 2001b. "Where are the Secret Factories Located? This is a compilation of (secret) factory locations and and related exposé stories on continued Athletic Apparel Industry exploitation of labor and ecology. http://business.nmsu.edu/~dboje/nike/nikewithmap.html}

^{Boje, D. M. (2001c). "Academics Studying Athletic Apparel Industry: Annotated Bibliography." http://business.nmsu.edu/~dboje/AA/academicsstudyingwriting.htm}

^{Boje, D. M. (2001d). "Phenomenal Complexity Theory and Nike." http://business.nmsu.edu/~dboje/papers/Phenomenal%20complexity%20theory%202000.html}

^{Boje, D. M. (2001e). Festivalism Web Site. http://www.zianet.com/boje/1/}

^{Boje, D. M. (2001f). Spectacles and Festivals of Organization: Managing Ahimsa Production and Consumption. To be published by Hampton Press, 2001 (To access book, please use ID=aggie359 PASS=adventure). http://salsa.nmsu.edu/dboje1/000_BookTABLEofContents.html}

^{Boje, D. M. (2001g). Carnivalesque Resistance to Global Spectacle: A critical postmodern theory of public administration. Administrative Theory and Praxis, special issue on Radical Organization Theory. Vol. 23 (3): 431-458. http://business.nmsu.edu/~dboje/papers/carnivalesque_resistance_to_glob.htm}

^{Boje, D. M. (2001h). Athletic Apparel Industry is Tamara-land. Tamara: Journal of Critical Postmodern Organization Science. Vol 1 (2), pp. 6-19. http://www.zianet.com/boje/tamara/issues/volume_1/issue_1_2/2Boje_editorial_Tamara_Nike.htm}

Boje, D. M. (2001i). Narrative Methods for Organizational and Communication Research. London Sage. New Book that contains several analyses on Nike and Athletic Apparel narratives, and the concept of "antenarrative." http//business.nmsu.edu/~dboje/papers/what_is_antenarrative.htm  (on line book intro chapter).

^{Boje, D. M. (2001j). Tamara Manifesto. Tamara: Journal of Critical Postmodern Organization Science. Vol. 1 (1): pp. 15-24. http://www.zianet.com/boje/tamara/issues/volume_1/issue_1_1/tamara_manifesto2.htm}

^{Boje, D. M., Grace Ann Rosile, & Simon Malbogat (2000). Theatrics of Organizational Development and Change. Theatrics workshop presented at the 2000 Academy of Management Meetings in Toronto.. http://business.nmsu.edu/~dboje/conferences/Acad2000FestivalSpectacleCarnival.html}

Boje, D. M., Grace Ann Rosile & J. Dámaso Miguel Alcantara Carrillo (2001). The Kuk Dong Story: When the Fox Guards the Hen House. http://business.nmsu.edu/~dboje/AA/kuk_dong_story.htm

^{Boje, D. M. & 50 Academics from Around the World (2001). Global Manufacturing and Taylorism Practices of Athletic Apparel Corporations and Their Subcontractors http://business.nmsu.edu/~dboje/AA/index.html ; Also a presentation at the 2001 EGOS conference and the 2001 Academy of Management pre-conference. See EGOS - Global Manufacturing and Taylorism Practices of Nike Corporation and its Subcontractors: Ancient (Modern) Times within (Post) Modern Times? http://business.nmsu.edu/~dboje/conferences/EGOS_2001_Nike_Action_Project.htm ; At Academy of Management in Washington D.C. - Professional Development Workshop by Academics Studying Athletic and Campus Apparel, August 4, (Saturday) 2001 in Washington D.C. http://business.nmsu.edu/~dboje/nike/pdw_academy_proposal.htm}

Currie, M. 1998. Postmodern Narrative Theory. NY: St. Martin's Press.

Debord Guy 1967. Society of the Spectacle. La Société du Spectacle was first published in 1967 by Editions, Buchet-Chastel (Paris); it was reprinted in 1971 by Champ Libre (Paris). The full text is available in English at http://www.nothingness.org/SI/debord/index.html  , Retrieved September 7, 2000
from the World Wide Web:

Firat, F. A. & Nikhilesh, D. 1998. Consuming People: from Political economy to Theaters of Consumption. London/NY: Routledge.

Geis, D. R. 1993. Postmodern Theatric(k)s: Monologue in Contemporary American Drama. Ann Arbor, MI: The University of Michigan Press.

^{Lasn, Kalle (2001) The Smell of Swoosh. Adbusters. http://www.adbusters.org/creativeresistance/36/1.html}

MacAloon, John J. (1984). Olympic Games and The Theory of Spectacle in Modern Societies. pp. 241-280. In John J. MacAloon (Ed.) Rite, Drama, Festival, Spectacle: Rehearsals toward a theory of cultural performance. Philadelphia, PN: Institute for the Stufy of Human Issues.

Marx, Karl (1867). Capital: A Critique of Political Economy. Vol. 1. The Process of Capitalist Production. Trans. S. Moore and E. Averling. F. Engles (ed.). NY: International Publishers. First published 1867, English 1967.

^{Rosile, G.A., Steve Best, and D. M. Boje (2001) Corporate Theatrics and Carnivalesque Resistance. Paper presented at the EGOS meetings in Lyon France. http://business.nmsu.edu/~dboje/conferences/EGOS_2001_Rosile_Best_Boje.htm}

Saner, R. 1999. "Organizational consulting: What a Gestalt approach can learn from Off-Off-Broadway Theater." Gestalt Review 3 (1): 6-21.

Simard, R. 1984. Postmodern Drama: Contemporary Playwrights in America and Britain. Lanham, MD: University Press of America.

TAMARA: Journal of Critical Postmodern Organization Science http://www.zianet.com/boje/tamara  See Vol 1
Issue 2 Corporate Predators Special Issue  http://www.zianet.com/boje/tamara/issues/volume_1/issue_1_2/INDEXvol1NO2.htm

^{Turner, Victor (1967) Carnival, Ritual, and play in Rio de Janeiro. pp. 74- 92. In Alessandro Falassi (Ed.) Time Out of Time: Essays on the Festival. Albuquerque, NM: University of New Mexico Press.}

^{Turner, Victor (1982) Celebration: Studies in Festivity and Ritual. Washington, D.C.: Smithsonian Institution Press.}

^{Play 1. Factory Girl Interrupted - There are two people sitting on the stage to perform an example. Once this is previewed, the audience can pair off to explore their own theater.} 

• Boje (2001) " Are New Mexico State garments made in sweatshops?" web document.

• ^{Boje, D. M. 2001g. Carnivalesque Resistance to Global Spectacle: A critical postmodern theory of public administration. In review at Administrative Theory and Praxis, special issue on Radical Organization Theory. http://business.nmsu.edu/~dboje/papers/carnivalesque_resistance_to_glob.htm}