The Methuen Drama Handbook of Interculturalism and Performance

Description

The Methuen Drama Handbook of Interculturalism and Performance explores ground-breaking new directions and critical discourse in the field of intercultural theatre and performance while surveying key debates concerning interculturalism as an aesthetic and ethical series of encounters in theatre and performance from the 1960s onwards. The handbook’s global coverage challenges understandings of intercultural theatre and performance that continue to prioritise case studies emerging primarily from the West and executed by elite artists. By building on a growing field of scholarship on intercultural theatre and performance that examines minoritarian and grassroots work, the volume offers an alternative and multi-vocal view of what interculturalism might offer as a theoretical keyword to the future of theatre and performance studies, while also contributing an energized reassessment of the vociferous debates that have long accompanied its critical and practical usage in a performance context. By exploring anew what happens when interculturalism and performance intersect as embodied practice, The Methuen Drama Handbook of Interculturalism and Performance offers new perspectives on a seminal theoretical concept still as useful as it is controversial. Featuring a series of indispensable research tools, including a fully annotated bibliography, this is the essential scholarly handbook for anyone working in intercultural theatre and performance, and performance studies. Cover page Halftitle page Series page Title page Copyright page Dedication CONTENTS KEYWORDS LIST OF ILLUSTRATIONS NOTES ON CONTRIBUTORS ACKNOWLEDGMENTS Introduction NOTES PART ONE HIT’s (Hegemonic Intercultural Theatre) Counter-Currents CHAPTER ONE (Re)Sounding Universals: The Politics of Listening to Peter Brook’s Battlefield RE-SOUNDING THE PAST OF (LISTENING TO) UNIVERSALS (RE)SOUNDING VOCALITIES: THE POLITICS OF PHONOLOGY ON RHYTHM AS UNIVERSAL THE TUNING OF THE EARS NOTES CHAPTER TWO The Intercultural Politics of Performing Revolution: Maryse Condé’s Inter-Theatre with Ariane Mnouchkine REMEMBERING REVOLUTIONS CRITICAL HOMAGE: BORROWING FROM MNOUCHKINE, DECENTERING FRANCE CODA: REPOSITIONING THE ARTISTS NOTES CHAPTER THREE What Lies beyond Hattamala? Badal Sircar and His Third Theatre as an Alternative Trajectory for Intercultural Theatre BENGALI THEATRE’S COLONIAL ORIGINS AND REVOLUTIONARY INFLUENCES THE NEW THEATRE AND CONSOLIDATION OF BENGALI THEATRE AS AN INTERCULTURAL EXERCISE BADAL SIRCAR AND THE SHORTCOMINGS OF BENGALI INTRA-INTERCULTURALISM STALE OLD WINE IN A NEW BOTTLE, OR SOME CONCLUDING THOUGHTS NOTES PART TWO Networking New Interculturalisms CHAPTER FOUR Decentering Asian Shakespeare: Approaching Intercultural Theatre as a Living Organism THE CENTRIFUGAL FALLACY THE CENTRIPETAL FALLACY THE TAKARAZUKA REVUE’S SHAKESPEAREAN EXTRAVAGANZA THE GOLDEN BOUGH THEATRE’S “ANYTHING GOES” SHAKESPEARE CONCLUSION NOTES CHAPTER FIVE Connecting the Dots: Performances, Island Worlds, and Oceanic Interculturalisms TE REKO NO TUTEPOGANUI, TUAMOTU ARCHIPELAGO THE MUTINY ON THE BOUNTY SHOW, NORFOLK ISLAND CONCLUSION: OCEANIC INTERCULTURALISMS NOTES CHAPTER SIX Subversive Immigrant Narratives in the In/visible Margin: Performing Interculturalism on Online Stages CHICAGO’S SILK ROAD RISING (SRR) THE “INTER” REPLACES THE “MULTI” IN CULTURALISM MULTI MEETS POLY IN SRR INTERCULTURALISM AS PRACTICE BEING SUBVERSIVE CREATIVITY WITH RESOURCES: ONLINE VENTURES THE CULTURAL OTHER TAKES CENTER STAGE CONCLUSION NOTES PART THREE Interculturalism as Practice CHAPTER SEVEN Beyond HIT: Towards Regional Interculturalism through Puppetry in Southeast Asia ASEAN AND APEX—FORGING COMMUNITY PEOPLING THE EXCHANGE—POWER AND POLITICS AROUND ASEAN—OVERCOMING DIFFERENCE INTERCULTURAL MATERIAL CONCLUSION POSTSCRIPT NOTES CHAPTER EIGHT Acts of Loving: Emmanuelle Huynh, Akira Kasai, and Eiko Otake in Intercultural Collaboration SPIEL THIRD SPACE: LAG, DISPLACEMENT, REMAINS TALKING DUET TALKING AND DANCING AS MODES THE DANCE’S BODY POTENTIALITY AND FAILURE LOVE NOTES CHAPTER NINE ReORIENTing Interculturalism in the Academy: An Asianist Approach to Teaching Afro-Haitian Dance INTRODUCTION EXISTING INTERCULTURAL PERFORMANCE MODELS DEFINITION OF TERMS INTERCULTURAL EDUCATION GLOBAL INTERCULTURAL ARTS EDUCATION CONTEXTUALIZING THE COURSE THE ETHICS OF ASSUMING INTERCULTURAL LABOR ACTION RESEARCH AS ETHICAL PRACTICE CONNECTING INTERCULTURAL PERFORMANCE AND INTERCULTURAL EDUCATION THROUGH ACTION RESEARCH REORIENTING INTERCULTURALISM IN THE ACADEMY: THREE KEY STRATEGIES CONCLUSION NOTES PART FOUR Testing the Limits of New Interculturalism CHAPTER TEN Mamela Nyamza and Dada Masilo: South African Black Women Dancer-Choreographers Dancing “New Interculturalism” MAMELA NYAMZA DADA MASILO NOTES CHAPTER ELEVEN The “Dis-/De-” in the Hyphen: The Matrix and Dynamics of Displacement in Intercultural Performance THE HYBRIDIZATION OF INTERCULTURAL PERFORMANCE WHAT IS NOT “NEW” IN THE “NEW INTERCULTURALISMS”? THE IDEA OF “INTERWEAVING PERFORMANCE CULTURES” THE NETWORKING OF INTERCULTURAL PERFORMANCE THE “DIS-/DE-” IN THE HYPHEN OR THE ACT OF “MURDER” NOTES CHAPTER TWELVE Interculturalidad: (How) Can Performance Analysis Decolonize?1 INTERCULTURALIDAD, MODERNITY/COLONIALITY, AND DECOLONIZATION PALAS POR PISTOLAS NOTES PART FIVE Interculturalism(s): Mapping the Past, Reflecting on the Future CHAPTER THIRTEEN Annotated Bibliography INTERCULTURAL PERFORMANCE THEORY’S WAVES WINDS: MODERNIST GENEALOGIES OF EXPERIMENTATION WAVE ONE: EMERGENCE AND BACKLASH WAVE TWO: CONSOLIDATION WAVE THREE: “OTHER” INTERCULTURALISM(S) NOTES Conclusion NOTES INDEX