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Journal articles on the topic 'Theatre intercultural and interdisciplinary'

Author: Grafiati

Published: 25 May 2024

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1

Harvey, Lou. "Adapting intercultural research for performance: Enacting hospitality in interdisciplinary collaboration and public engagement." Arts and Humanities in Higher Education 17, no. 4 (July 25, 2017): 371–87. http://dx.doi.org/10.1177/1474022217722338.

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This article theorises the process of adapting my research on intercultural communication for public performance in collaboration with a theatre company. I frame the collaboration as taking place within a hospitable institutional space, and then consider what it means to enact hospitality interpersonally, given Derrida's understanding that the condition of its possibility is at the same time the condition of its impossibility. I suggest that the enactment of hospitality can be understood through the application of an intercultural theoretical framework based on Mikhail Bakhtin's concept of outsideness, and that this framework can be applied to both the collaboration with the theatre company and to the purposes of public engagement with research. I conclude with a consideration of the relationship between hospitality and hope, and a call to move towards a ‘condition of possibility’ for working as academics, for public engagement, and for living.

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2

Yerushalmi, Dorit. "From a Transient to a Resident: The Acco Festival of Alternative Israeli Theatre, 2001–2004." TDR/The Drama Review 51, no. 4 (December 2007): 47–67. http://dx.doi.org/10.1162/dram.2007.51.4.47.

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As artistic director of the Acco Festival (2001–2004), Atay Citron turned the Festival into a showcase of intercultural and interdisciplinary events. Citron established Acco as the site for Arab-Jewish dialogue, a place where Jewish and Arab artists worked together for the first time.

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3

Pavis, Patrice. "Theatre Studies and Interdisciplinarity." Theatre Research International 26, no. 2 (June 14, 2001): 153–63. http://dx.doi.org/10.1017/s0307883301000165.

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Two broad areas within Theatre Studies have been characterized as interdisciplinary. The first concerns approaches inspired by the human and social sciences, and, more recently, cultural studies. The second concerns artistic practices that may be described as interartistic, intermedial (since they involve different media and, thus, different technological developments), and intercultual. It is argued that the epistemological paradigm for theatre studies has changed over the last thirty years, and can be broken down roughly according to decades, each defined by its particular contribution to the interdisciplinary thrust of theatre studies. Most current theoretical debates no longer deal with epistemology or methodology, but almost exclusively with the extension of the field of performance. It is suggested that the theoretical and practical worlds must be connected more closely, ‘actor’ and ‘text’ here serving as examples.

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4

Avenatti De Palumbo, Cecilia. "La reception en Argentine des martyrs de l’Algerie à travers la poésie et le théâtre." Studia Universitatis Babeș-Bolyai Theologia Catholica 66, no. 1-2 (December 15, 2021): 7–32. http://dx.doi.org/10.24193/theol.cath.2021.01.

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The Reception of Algeria’s Marthyrs in Argentina through Poetry (Christophe Lebreton) and Theatre (Pierre Claverie, Adrien Candiard). The aim of this article is to present the reception of Algeria’s marthyrs in Argentina as a testimony of the freedom of the Spirit, through Christophe Lebreton’s poetry as well as Adrien Candiard’s theatre play Pierre and Mohamed. Firstly, we will outline the itinerary of this intercultural meeting. Secondly, based on Hans Urs von Balthasar, Piero Coda and Christoph Theobald’s thoughts we will develop an interdisciplinary interpretation by making literature, Esthetics and Theology get involved in a dialogue, in order to propose hospitality as a holiness style in postmodernity. Keywords: Hospitality - Hans Urs von Balthasar - Christoph Theobald - Christophe Lebreton - Pierre Claverie.

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5

Parker-Starbuck, Jennifer. "Nonhuman Futures." Theatre Journal 75, no. 4 (December 2023): 533–46. http://dx.doi.org/10.1353/tj.2023.a922222.

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Abstract: As a contribution to Theatre Journal ’s 75th anniversary issue, this article poses questions and reflections about the inclusion of the more-than-human in theatre and performance studies. Surveying shifts in the field across the past few decades, the essay engages with the complex valences of the terms “human,” “nonhuman,” and “animal” to argue for greater intersectional, interdisciplinary, and intercultural thinking through performance. The essay argues that as climate and environmental concerns have become a matter of global urgency, nonhuman futures might be a way forward by weighing different and “multi-optic”— to use Claire Jean Kim’s term—approaches to both human and nonhuman problems. Examining how the emergence of the more-than-human in theatre studies continues to intersect with feminist, critical race, eco-, and cultural scholarship, the essay also draws upon the impact of the COVID-19 pandemic and how the concept of “infection” might also problematize binaristic thinking about these complex terms. The essay leaves readers with images of Deke Weaver and company’s performance work, The Unreliable Bestiary , in which many nonhuman futures coalesce.

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6

Ariza, Mercedes, Maria Giovanna Biscu, and María Isabel Fernándes García. "The Madness of Imagining New Worlds." Scenario: A Journal of Performative Teaching, Learning, Research I, no. 2 (July 1, 2007): 7–25. http://dx.doi.org/10.33178/scenario.1.2.2.

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This paper presents some reflections that emerged from a research project developed in the Department of Interdisciplinary Studies in Translation, Languages and Cultures (SITLeC) of the University of Bologna. This three-stage project was based on language mediator training and the teaching/acquisition of intercultural communicative competence through theatre. During an eight-month workshop, a group of Italian students – beginners in Spanish – engaged in a series of extracurricular activities, resulting in the public performance of a play written in verse by Lope de Vega. Under the researchers’ supervision, students analysed the play from a linguistic and (inter)cultural perspective, giving special emphasis to the discovery of the other, the encounter of the Old and the New World and the miscommunication caused by lack of understanding in intercultural situations. All these aspects helped students to explore a wide range of verbal and nonverbal communicative strategies, as well as to increase their foreign language proficiency and develop empathy. The in-depth analysis of the play and of the emblematic character of Columbus, whose imagination is capable of inventing new worlds even before discovering them, showed students that the real shipwreck in intercultural encounters is incommunicability itself and that, in order to communicate, one needs to be an ‘apostate translator’. This paper presents some reflections that emerged from a research project developed in the Department of Interdisciplinary Studies in Translation, Languages and Cultures (SITLeC) of the University of Bologna. This three-stage project was based on language mediator training and the teaching/acquisition of intercultural communicative competence through theatre. During an eight-month workshop, a group of Italian students – beginners in Spanish – engaged in a series of extracurricular activities, resulting in the public performance of a play written in verse by Lope de Vega. Under the researchers’ supervision, students analysed the play from a linguistic and (inter)cultural perspective, giving special emphasis to the discovery of the other, the encounter of the Old and the New World and the miscommunication caused by lack of understanding in intercultural situations. All these aspects helped students to explore a wide range of verbal and nonverbal communicative strategies, as well as to increase their foreign language proficiency and develop empathy. The in-depth analysis of the play and of the emblematic character of Columbus, whose imagination is capable of inventing new worlds even before discovering them, showed students that the real shipwreck in intercultural encounters is incommunicability itself and that, in order to communicate, one needs to be an ‘apostate translator’.

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7

Gualdron, Evelyn, and Edna Castillo. "Theater for Language Teaching and Learning: The E Theater, a Holistic Methodology." Profile: Issues in Teachers´ Professional Development 20, no. 2 (July 1, 2018): 211–27. http://dx.doi.org/10.15446/profile.v20n2.63969.

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This article reports the findings of a qualitative study based on a long-term application of a theater content-based methodology for L2 learning, supported by professionals in theater and in foreign languages, in The E Theater: an English as a foreign language theater interdisciplinary group at Universidad Nacional de Colombia that has been active since 2008. The data were collected through a longitudinal semi-structured survey, interviews of the participants of the event, and a focus group. As a result, participants stated lowering their affective filter and benefits in their production and comprehension of L2 skills, their intercultural competence, and their cognitive processing of the language derived from the methodology carried out.

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8

Yudiaryani, Yudiaryani, Hirwan Kuardhani, and Silvia Anggreni Purba. "Implementation of Deconstruction Method Ideas In The Contemporary Theatre of Pilihan Pembayun Yogyakarta." Journal of Urban Society's Arts 9, no. 1 (December 19, 2022): 60–70. http://dx.doi.org/10.24821/jousa.v9i1.6694.

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The presence of contemporary theatre performing arts in Indonesia can not be separated from the history of theatrical performing arts in areas in Indonesia. “Contemporary” refers to the situation in space and time today and is a way of pointing to the development and change of theatre in these areas. Today’s performing arts are undergoing significant changes in their form and content. It was inspired by the discovery of science and technology and the dynamics of the world’s cultural ideas in the 20th century. Hans Thies Lehmann’s post-dramatic ideas around the 1980s in Europe, among others, inspired the emergence of new creativity studies internationally. Performing arts transformed itself from an ‘art performance’ into an intercultural and interdisciplinary performance of art by dismantling and rebuilding elements of its performances. The research theme is the development of science within art, while the research topic is the utilization of art theory to create works of art. The study aims to examine theories and deconstruction methods based on post-dramatic ideas that improve the quality of intercultural and gender theatre creation. The specific research target is to discover the benefits of deconstruction theory for creating contemporary theatre. The theatrical performance chosen in this study was The Pilihan Pembayun, a drama script by Hirwan Kuardhani and directed by Yudiaryani and Wahid Nurcahyono. Research methods use qualitative description methods. Qualitative methods look for the meaning behind data with interpretive and thorough analysis techniques. Data collection techniques with participant elevation, interviews, observations, field records, and documents will be used in the research. The research results obtained are the theoretical foundation for eliminating the negative aspects of intercultural and gender communication in the performing arts. Kehadiran seni pertunjukan teater kontemporer di Indonesia tidak lepas dari sejarah kehadiran seni pertunjukan di daerah-daerah di Indonesia."Kontemporer" mengacu pada situasi dalam ruang dan waktu saat ini dan merupakan cara untuk menunjuk pada pengembangan dan perubahannya. Seni pertunjukan saat ini sedang mengalami perubahan signifikan dalam bentuk dan konten. Hal tersebut terinspirasi oleh penemuan ilmu pengetahuan dan teknologi dan dinamika ide-ide budaya dunia di abad ke-20. Ide-ide pasca-dramatik Hans Thies Lehmann sekitar tahun 1980-an di Eropa, antara lain, mengilhami munculnya studi kreativitas baru secara internasional. Seni pertunjukan mengubah dirinya dari 'pertunjukan seni' menjadi pertunjukan antarbudaya dan interdisipliner dengan membongkar dan membangun kembali elemen pertunjukannya. Tema penelitian adalah pengembangan sains dan teknologi dalam ranah seni, sedangkan topik penelitian adalah pemanfaatan teori seni untuk penciptaan karya seni. Studi ini bertujuan untuk memeriksa teori dan metode dekonstruksi berdasarkan ide-ide pascadramatik yang bermanfaat untuk meningkatkan kualitas penciptaan teater antarbudaya dan gender. Pertunjukan teater yang dipilih dalam penelitian ini adalah Pilihan Pembayun, naskah Hirwan Kuardhani dan disutradarai oleh Yudiaryani dan Wahid Nurcahyono. Tujuan spesifik dari penelitian ini adalah untuk menemukan manfaat dari teori dekonstruksi untuk penciptaan teater kontemporer. Metode penelitian menggunakan metode deskripsi kualitatif. Metode kualitatif mencari makna di balik data dengan teknik analisis interpretatif dan menyeluruh. Teknik pengumpulan data dengan wawancara, pengamatan, dan catatan lapangan, serta penggunaan dokumen. Hasil penelitian yang diperoleh adalah pemanfaatan teori sebagai dasar menghilangkan dampak negatif dari komunikasi antarbudaya dan gender dalam penciptaan pertunjukan kontemporer.

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9

Pavis, Patrice. "On Intercultural Theatre." Tekstualia 4, no. 51 (December 19, 2017): 7–12. http://dx.doi.org/10.5604/01.3001.0013.3559.

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The article gives an account of the current state of research on intercultural theatre. It seems that we have moved away from the polemics of the 1980s about intercultural theatre, and that interculturalism has been often replaced by a globalized theatre. The aesthetics, ethics and politics have changed and we are now faced with very different problems and also different kinds of globalized performances.

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10

Pavis, Patrice. "Intercultural Theatre today (2010)." Forum Modernes Theater 25, no. 1 (2010): 5–15. http://dx.doi.org/10.1353/fmt.2010.0009.

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11

O’Toole, Emer. "Cultural capital in intercultural theatre." Target. International Journal of Translation Studies 25, no. 3 (October 11, 2013): 407–26. http://dx.doi.org/10.1075/target.25.3.06aal.

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In 2006, the Dublin-based theatre company Pan Pan went to China to produce a Mandarin version of J.M. Synge’s canonical Irish play The Playboy of the Western World. Director Gavin Quinn chose to set the adaptation in a hairdresser/ massage parlour/brothel, on the outskirts of Beijing. He originally wanted the protagonist to hail from Xin-Jiang, China’s troubled Sinomuslim province. In interview, he said he was advised against this for fear of Chinese state censorship. However, the Chinese translators, Yue Sun and Zhaohui Wang, suggest that the decision not to represent a Muslim protagonist had to do with ethnic sensitivities. In order to analyse this conflict, this article draws on translation sociology after Bourdieu, clarifying the functioning of the habitus, and formulating a global field of cultural production. It argues that analysis of intercultural processes focused on cultural capital can provide materially engaged insights into the power relations informing given intercultural situations.

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12

Lewartowicz, Urszula. "Oswajanie Inności przez teatr – na przykładzie projektu „NIEW(INNY)”." Edukacja Międzykulturowa 20, no. 1 (2023): 185–95. http://dx.doi.org/10.15804/em.2023.01.13.

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The aim of the article is to show the potential of theatrical art in intercultural education, and more specifically in the process of taming the broadly understood Otherness. The first part of the study presents the conceptual categories: the Other and the Stranger in the perspective of intercultural education. The intercultural intentions of art are also characterized, with particular focus on theatre and emphasizing the role of theatre activities in developing attitudes of tolerance towards cultural diversity. The most important features of theatre allowing for the recognition of theatre as an effective and attractive tool for intercultural education were indicated. The second part of the study is related to educational practice, as it is a record of an original theatre project addressed to primary school students, aimed at sensitizing to cultural differences. As part of the project, a spectacle dealing with the issues of various dimensions of Strangeness / Otherness (biological, economic, cultural, geophysical, mental) was realized, emphasizing their relativity and contextuality. There were also theatrical and intercultural workshops referring to the performance and to developing the attitude of tolerance with the use of such theatrical techniques as: movement games, drama, theatre improvisation, voice games with theatrical intention.

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13

TIAN, MIN. "Mei Lanfang and Stanislavsky: The (De)construction of an Intercultural Myth on the International Stage." Theatre Research International 45, no. 3 (October 2020): 264–80. http://dx.doi.org/10.1017/s0307883320000267.

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Mei Lanfang's contact with Stanislavsky during his 1935 tour in the Soviet Union and the latter's often-cited ‘appraisal’ of the acting of traditional Chinese theatre have exerted a profound and lasting influence on the Chinese understanding and evaluation of the art of their traditional theatre. Through extensive research into the related archival material, as well as contemporary records, this article investigates the historical facts and circumstances that underlie this historic intercultural moment on the twentieth-century international stage. It unweaves the historical construction of this remarkable intercultural phenomenon and exposes its political and ideological underpinnings as well as its theatrical and artistic placements and displacements. It underscores the necessity of deconstructing the creation of such an intercultural myth for today's historical understanding of the art of traditional Chinese theatre and, by implication, in a larger context, of the global making of twentieth-century intercultural theatre.

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14

Fulton, David. "Mediterranean Dialogues: Spain's Intercultural Theatre Festival." New Theatre Quarterly 23, no. 1 (January 16, 2007): 86–90. http://dx.doi.org/10.1017/s0266464x06220669.

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15

Brown, John Russell. "Theatrical Pillage in Asia: Redirecting the Intercultural Traffic." New Theatre Quarterly 14, no. 53 (February 1998): 9–19. http://dx.doi.org/10.1017/s0266464x00011696.

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The potential and the problems of multicultural theatre have frequently been described and debated in this as in other theatre journals, but discussions of its value and viability have generally been in ethical terms – over how far it is possible for the West to ‘import’ or otherwise employ the theatrical traditions of other cultures without resort to an imperialist appropriation of what is found ‘consumable’, to the detriment of the culture thus despoiled. While not ignoring the moral arguments, John Russell Brown here deals also with the practical issues – notably, how far different kinds of theatre depend on being ‘site-specific’ not only in terms of the performers involved, but also in terms of audiences and their responses. He argues that, paradoxically, truly intercultural theatre is more often to be found where western influences from Hollywood films or pop music have become part of the lived experience of eastern cultures, or in western communities where (for example) British and West Indian or ‘Anglo’ and Latino-American traditions have become intertwined. He suggests that rather than trying to embrace the substance of ‘other’ traditions, western theatre might better benefit by exploring the conventions that modulate the relationship between actors and audience, or the approach of the actor to different kinds of ‘text’. He concludes: ‘By using overseas research to develop its own inheritance, a theatre might discover what it alone needs to create and encourage a more active and imaginative response from its local audience.’ A widely published writer on drama and theatre, John Russell Brown was first Head of the University of Birmingham's Department of Drama and Theatre Arts, and was subsequently an Associate Director at the National Theatre in London. Currently he is visiting Professor at Columbia University, New York.

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16

Solga, Kim. "Artifacting an Intercultural Nation: Theatre Replacement's BIOBOXES." TDR/The Drama Review 54, no. 1 (March 2010): 161–66. http://dx.doi.org/10.1162/dram.2010.54.1.161.

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At first, BIOBOXES, by Vancouver's Theatre Replacement, seems like straightforward multiculti fare—theatre celebrating Canada's cultural mosaic. But then you step inside the tiny boxes and find yourself a spectator to your own investments in multicultural performance.

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17

Wiśniewski, Tomasz. "The Intermingling of Cultures in Teatr Wierszalin." Tekstualia 4, no. 51 (December 19, 2017): 37–44. http://dx.doi.org/10.5604/01.3001.0013.3562.

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Academic discussion on the intercultural dimension of theatre is dominated by attempts at establishing a coherent paradigm that should be capable of explaining social, historical, economic and political phenomena. This results from assuming affi nities between the “intercultural theatre” and a concrete, if dependent on historical evolution, ideological message of this type of theatre. In this article, I suggest a different analytical perspective. It is focused on the esthetics of detail. The research material covers recent performances of Teatr Wierszalin.

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18

Yu, Shining. "An Analysis of International Curation from an Intercultural Perspective." Communications in Humanities Research 9, no. 1 (October 31, 2023): 253–59. http://dx.doi.org/10.54254/2753-7064/9/20231193.

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It is the advantage of Chinese cultural diplomacy to enrich foreign cultural exchange forms and enhance international influence, communication power, and attractiveness through international museum exhibitions. The international exhibition is an important platform for cultural exchanges with other countries. In the case that the traditional communication forms of Chinese theatre art no longer adapt to the development of modern society, this study will analyze how to curate international exhibitions on the theme of Chinese theatre art from the intercultural perspective so as to achieve the purpose of Chinese culture communication. By analyzing the current situation and problems of international curation, this study explores the cultural significance of international exhibitions from an intercultural perspective, selects Chinese theatre art as the curation theme, analyzes the special narrative expression in theatre art exhibitions, and puts forward some suggestions on the virtual and digital applications in exhibitions. The research shows the mutual compatibility between international exhibition and Chinese theatre art and the importance and necessity of realizing intercultural communication through exhibition as the medium and constructing a new cultural exchange mechanism for the communication of Chinese theatre art through curating exhibitions.

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19

Lo, Jacqueline, and Helen Gilbert. "Toward a Topography of Cross-Cultural Theatre Praxis." TDR/The Drama Review 46, no. 3 (September 2002): 31–53. http://dx.doi.org/10.1162/105420402320351468.

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Theatrical practices variously called multicultural, postcolonial, syncretic, intercultural, transcultural, and imperialistic comprise a contested cluster of related operations in need of theorizing. After analyzing a number of approaches, the authors propose a new two-way flow model for intercultural theatre.

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20

Fidenko, Yulia Leonidovna. "Intercultural Activity of Mariinsky Theatre Primorsky Stage." Manuskript, no. 1 (January 2021): 229–32. http://dx.doi.org/10.30853/mns200604.

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21

Griggs, Michael. "Border crossings: New models of intercultural theatre." European Legacy 1, no. 4 (July 1996): 1284–90. http://dx.doi.org/10.1080/10848779608579565.

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22

Prykowska-Michalak, Karolina, and Izabela Grabarczyk. "“English with a Polish Accent and a Slight Touch of Irish”: Multilingualism in Polish Migrant Theatre." Text Matters: A Journal of Literature, Theory and Culture, no. 13 (November 27, 2023): 298–316. http://dx.doi.org/10.18778/2083-2931.13.16.

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Issues of migration writing (see Kosmalska) and migrant theatre have recently gained prominence, leading to an increase in research focused on analyzing the theatrical works of artists with a migrant background. This phenomenon is part of a broader trend in intercultural and, often, postcolonial studies. Contemporary Polish migrant theatre is a subject that has not been thoroughly explored yet. Among many methods applied in the study of migrant theatre, intercultural studies or the so-called new interculturalism take the lead. These concepts draw on bilingualism or multilingualism practices, which are slowly taking a more significant role in migrant theatre studies. This article analyzes two theatre plays staged by Polish migrants in Ireland and in the United Kingdom in the context of linguistic practices that exemplify and help define the concept of transnational drama.

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23

Meilutė, Ieva, and Virginija Jurėnienė. "International tours of theatre as a means of intercultural cooperation." Informacijos mokslai 89 (June 5, 2020): 134–46. http://dx.doi.org/10.15388/im.2020.89.45.

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The 21st century theatre is open to new ideas, new findings and presentation of own works to the consumer on not only the national, but also international level. This stands for communication and cooperation with the consumer and organisations. Theatre tours abroad are one of the forms of intercultural cooperation among organisations and consumers. The article analyses the peculiarities of organising theatre tours, its benefit and levels of cooperation. The study includes an analysis of organising national and commercial theatre tours on an international level which allows concluding that intercultural cooperation can occur on the following three levels: interpersonal (micro), interinstitutional (macro) and international (mezzo). The study reveals another new – mixed – level; however, a new mediating element can be seen in cooperation on micro or macro levels. Both types of theatre (state and non-state) see evident benefit of international tours for the theatre, the troupe and the country. A country can use this as a means of soft power in its foreign policies.

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24

Bickis, Heidi. "Women’s Theatre in Quebec: Reimagining the Stage." Canadian Theatre Review 139 (July 2009): 90–92. http://dx.doi.org/10.3138/ctr.139.015.

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With this unique two-volume anthology, Louise H. Forsyth offers the English Canadian reader a glimpse of theatre in Quebec, written, starring and produced by women. By creating a space for the transformative voices of Quebec women playwrights within an English-language setting, Forsyth has opened the door for an intercultural encounter between two theatre traditions that don’t often have a chance for dialogue and exchange. The anthology also documents some of the intercultural happenings within Quebec theatre, first with a 努women’s culture” taking its place onstage and secondly, in volume two, with immigrant and First Nation stories making themselves heard. The collection invites readers to engage with a realm of theatre unfamiliar to them and takes the first step towards putting these plays on English Canadian stages.

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25

Couture, Selena. "Women’s Auto/biographical Theatre: Affirmation, Preservation and Intercultural Communication." Canadian Theatre Review 139 (July 2009): 36–42. http://dx.doi.org/10.3138/ctr.139.005.

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Auto/biography has gained new respect through theory written by feminist scholars. People have produced autobiographies for many years, but they have generally been considered either instructive, as when great leaders explain how they became who they are, or merely the product of a self-absorbed person. As Sherrill Grace explains in her introduction to Theatre and AutoBiography, “Until fairly recently, the anti-personal bias of modernism dismissed the auto/biographical as self-indulgent, effeminate, and thus as a failure of art itself” (“Theatre” 20). By focusing on ideas of gender oppression as well as on the lives of women, feminist theatre theory and practice have participated in the societal discourse that has encouraged women to write their own work. This increasingly positive atmosphere has had results. There has been a 23% increase in women playwrights being produced in Canada in the twenty years since Fraticelli’s report on the status of women in Canadian theatre (Burton 21). Auto/biographical theatre is a natural outcome of this work. Women feel stronger in their lives; they are aware that their voices matter (and that they will be listened to carefully) and therefore are compelled to present themselves: [T]he autobiographical voice and eye/l are available to minorities and to groups, such as women, who have been excluded from the dominant discourse and whose stories have been dismissed as worthless … [A] desire for agency, voice, visibility, and subjectivity has surfaced, clamouring for attention and seeking ways to create meaningful identity .. . While this predilection for AutoBiography no doubt satisfies a basic voyeuristic impulse (and does well in the marketplace), it also represents a crucial site for inscribing and preserving cultural memory. (Grace, “Theatre” 14-5)

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26

Neurohr, Elisabeth. "Germanics under Construction. Intercultural and Interdisciplinary Prospects." Informationen Deutsch als Fremdsprache 25, no. 2-3 (June 1, 1998): 343–45. http://dx.doi.org/10.1515/infodaf-1998-2-376.

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27

Fiebach, Joachim. "Cultural Identities, Interculturalism, and Theatre: On the Popular Yoruba Travelling Theatre." Theatre Research International 21, no. 1 (1996): 52–58. http://dx.doi.org/10.1017/s0307883300012700.

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Intercultural processes have become a major concern of European theatre people and critics since the 1970s. They serve to bolster the postmodern discourse marked by endlessly alterable and changing cultures and, therefore, by essentially elusive cultural identities. But the aggressive global expansion of audiovisually mediated performing culture, primarily American television, film, and video, is being viewed as a menace to received cultural identities. There are fears that European cultures are being submerged and disfigured by an ever increasing inundation of overpowering American cultural productions and may even disintegrate altogether.

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28

Jung, Mi-kyung. "Intercultural Reading of ‘Asianness’ in Asian American Theatre." Journal of Modern English Drama 30, no. 3 (December 31, 2017): 189–210. http://dx.doi.org/10.29163/jmed.2017.12.30.3.189.

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29

Frimberger, Katja. "A Brechtian theatre pedagogy for intercultural education research." Language and Intercultural Communication 16, no. 2 (March 7, 2016): 130–47. http://dx.doi.org/10.1080/14708477.2015.1136639.

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30

Verdecchia, Guillermo. "Exploding the Hourglass: Next-Level Intercultural Theatre Research." Canadian Theatre Review 178 (March 2019): 83–85. http://dx.doi.org/10.3138/ctr.178.017.

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31

Grünwald, Norbert, Jeļena Zaščerinska, Anthony Staak, Josiah Munda, Edgar Nesamvuni, Paul Chisale, Kay Pfaffenberger, and Hendrik Pienaar. "Intercultural and Interdisciplinary Exchange between German and Southern Africa’s Students within PEESA II." Balkan Region Conference on Engineering and Business Education 2, no. 1 (December 20, 2017): 175–82. http://dx.doi.org/10.1515/cplbu-2017-0024.

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Abstract The PEESA II project promotes the exchange between German and Southern Africa’s students in order to increase the number of highly qualified experts in the field of renewable energies and the quality of curricula developed in the previous PEESA project. However, the students are from different cultures and with different educational backgrounds. The guiding research question is as follows: How to organize the exchange between German and Southern Africa’s students who are from different cultures and with different educational backgrounds? The purpose of the work is to work out the organizational model of intercultural and interdisciplinary students’ exchange underpinning analysis of the students’ evaluation of their participation in an intercultural and interdisciplinary team. The research methodology comprises the study of the meaning of the key concepts of “culture”, “intercultural” and “interdisciplinary”. Moreover, the analysis demonstrates how the key concepts are related to the idea of renewable energies. Explorative study was carried out during the PEESA II Summer School in Vanderbijlpark, South Africa, in 2017. The empirical findings indicate that the students evaluation of their participation in an intercultural and interdisciplinary team is positive. Directions of further research are proposed. The novel contribution of the paper is the newly formulated hypothesis.

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Ferrari, Rossella. "Asian Theatre as Method: The Toki Experimental Project and Sino-Japanese Transnationalism in Performance." TDR/The Drama Review 61, no. 3 (September 2017): 141–64. http://dx.doi.org/10.1162/dram_a_00678.

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In 2012, Zuni Icosahedron (Hong Kong), Za-Koenji Public Theatre (Tokyo), and the Jiangsu Kun Opera Theatre (Nanjing) initiated the Toki Project, an intercultural platform devoted to the transmission of kunqu and noh through contemporary performance. Originating from a Shanghai Expo 2010 commission, Toki provides a theatrical application of Chen Kuan-hsing’s influential notion of “Asia as method.” As epitomized by the yearly One Table, Two Chairs performances at Nanjing’s Toki Arts Festival, Toki partakes in Asia as method’s effort toward “decolonization, deimperialization, and de-cold war” through aesthetic and epistemological deconstruction, endorsing a dialogic model of intercultural performance as inter-Asian relation.

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Singleton, Brian. "Receiving Les Atrides Productively: Mnouchkine's Intercultural Signs as Intertexts." Theatre Research International 22, no. 1 (1997): 19–23. http://dx.doi.org/10.1017/s030788330001590x.

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In her analysis of interculturalist theatre practice, Erika Fischer-Lichte has developed a theory of productive reception, in which the subsuming of a source culture's codes and conventions into a target culture's production has a telos of solving problems (political, aesthetic, cultural) and/or of filling gaps. In The Dramatic Touch of Difference: Theatre Own and Foreign, Fischer-Lichte sites the practice's operation: ‘An intercultural performance productively receives the elements taken from the foreign theatre traditions and cultures according to the problematic which lies at the point of departure’. The theory also extends to the act of reception by the spectator in that it implies a reading which is non-oppositional between source and target cultures, which demands the interculturalist performance be read as a monoculturalist product. The Théâtre du Soleil's Greek tetralogy Les Atrides (1990–3), directed by Ariane Mnouchkine, is an example of intercultural performance with which one can engage Fischer-Lichte's theory in relation to the reading and classification of signs.

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Cowan, Cindy. "The Trap of Cultural Specificity: Seeking Intercultural Solidarity." Canadian Theatre Review 73 (December 1992): 24–28. http://dx.doi.org/10.3138/ctr.73.008.

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Before my move in the fall of 1989 to the remote community of Pangnirtung, NWT I had worked for over ten years with the Mulgrave Road Co-op Theatre, a community-based theatre located in northeastern Nova Scotia – another isolated area, but at least Guysborough has a road you can drive away on! While I scrambled to get jobs as a playwright and actress, my husband, Ed McKenna, worked as the company’s general manager. During that time we became parents – suddenly rehearsals were places where I nursed and babies projectile-vomited. Moving to Northern Canada provided all of us with an opportunity to “get a life”.

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MCIVOR, CHARLOTTE. "When Social Policy Meets Performance Practice: Interculturalism, the European Union and the ‘Migratory and Refugee Crisis’." Theatre Research International 44, no. 3 (October 2019): 230–47. http://dx.doi.org/10.1017/s0307883319000282.

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This article examines the relationship among migration, performance and intercultural dialogue as social policy in the European Union since the late 2000s. Intercultural dialogue is currently enjoying a second wave of prominence with several recently published reports by the European Union explicitly highlighting the relationship between this strategy's transformational possibilities and the role of the arts. Crucially, in both European social policy and performance theory today, interculturalism is increasingly used to mean an embodied practice and site of encounter that strategically multiplies – rather than binarizing or reifying – cultural differences between individuals and within groups. This article compares the work of three European theatre companies who describe their work as theatrical interculturalism and use it as a means of practising and furthering intercultural dialogue: Kloppend Hert (Belgium), Terra Nova Productions (Northern Ireland) and Outlandish Theatre Platform (Republic of Ireland).

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Moody, David. "Peter Brook's Heart of Light: ‘Primitivism’ and Intercultural Theatre." New Theatre Quarterly 11, no. 41 (February 1995): 33–39. http://dx.doi.org/10.1017/s0266464x0000885x.

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Peter Brook's work has always figured in debates over ‘intercultural’ projects in the contemporary theatre. However, the controversy has most often centred on his engagement with Asian theatrical traditions, and in particular on his production of The Mahabharata. David Moody here examines Peter Brook's writings on Africa, as theatrical ‘discourse’ with its own theoretical half-life quite distinct from actual productions. This discourse, it is argued, can be described as ‘primitivist’, in that it constructs the African audience as, in Barthes's term, ‘degree zero’ – a ‘limit-text’ to universal theatrical communication. In doing so it presents a limiting version of African theatrical traditions themselves, and, as a result, reinforces a broader, more destructive global discourse of cultural primitivism concerning African and so-called ‘indigenous’ art and performance. David Moody, who currently lectures in Theatre and Drama Studies at Murdoch University, Perth, Australia, is a playwright, actor, and director who has written extensively on African, post-colonial, and popular theatre, and is now engaged in his own problematic intercultural projects.

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Hackel, Marcus, Andrea Gaube, and MA Sabrina Lampe. "Intercultural Hands on Projects – Experiences in Architectural Education in Asian and European Context." SHS Web of Conferences 41 (2018): 02002. http://dx.doi.org/10.1051/shsconf/20184102002.

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The duties of German architects include the indepth design process as well as a thorough quality supervision during the construction process with the goal of the “build success“. They are reflected in the “Hands on Projects” organized by German Universities. The best results and broadest findings come out of international and interdisciplinary cooperation and projects with participants coming from the diverse cultural background and even integrating refugees into these projects. Students get in touch with different philosophies, attitudes, values, and approaches. They learn about intercultural communication and develop unique solutions. Different social and cultural background leads to different behavior. Not being aware of the cultural differences may lead to misunderstanding and irritation. Analysing the cause of these misunderstandings and getting knowledge about the cultural influence on architectural planning, communication and problem solving is one of the mayors tasks of these intercultural and interdisciplinary projects. Two case studies from Thailand and Germany published in this paper show different experiences with intercultural and interdisciplinary “Hands on Projects”.

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Balen, Koen Van. "Heritage Preservation Training: An Intercultural and Interdisciplinary Methodology." Built Environment 33, no. 3 (November 5, 2007): 295–306. http://dx.doi.org/10.2148/benv.33.3.295.

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Bailey, Erika. "Training Actor’s Voices: Towards an Intercultural/Interdisciplinary Approach." Voice and Speech Review 13, no. 3 (April 25, 2019): 370–72. http://dx.doi.org/10.1080/23268263.2019.1605688.

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Isabel Fernández García, María, Mercedes Ariza, Claudio Bendazzoli, Maria Giovanna Biscu, and Yvonne Grimaldi. "The Effective Action of Theatre in the Educational Mapping of Linguistic and Intercultural Mediators." Scenario: A Journal of Performative Teaching, Learning, Research VI, no. 2 (July 1, 2012): 76–87. http://dx.doi.org/10.33178/scenario.6.2.8.

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This paper is based on the University Theatre experience at the Advanced School of Modern Languages for Interpreters and Translators (SSLMIT) of the University of Bologna (Forlì campus) over the last twenty years. A great number of trainee translators and interpreters has had the opportunity to explore the world of theatre in a foreign language, which can be referred to as TiLLiT (i.e. theatre in language and language in theatre) or stage-classroom. This activity has been carried out within a comprehensive educational context, enabling participants to acquire both general and specific competences, as suggested in the European Higher Education Area. Evidence of this can be found in the final dissertations that some students-actors wrote to complete their curriculum. Four dissertations in total will be considered to illustrate the effective action of theatre, which enables its main protagonists to establish a direct link between theoretical notions and experience.

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Amankulor, J. Ndukaku. "The Condition of Ritual in Theatre: An Intercultural Perspective." Performing Arts Journal 11, no. 3 (1989): 45. http://dx.doi.org/10.2307/3245426.

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Conceison, Claire A. "Translating Collaboration: "The Joy Luck Club" and Intercultural Theatre." TDR (1988-) 39, no. 3 (1995): 151. http://dx.doi.org/10.2307/1146470.

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Ruth, Annie. "Welcome to Thebes: Process and methodology of intercultural theatre." Studies in South Asian Film & Media 4, no. 2 (October 1, 2012): 201–9. http://dx.doi.org/10.1386/safm.4.2.201_1.

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Community, purpose, context and an anchored presence in encountering difference – these are qualities stimulated by tikanga Māori frameworks as an approach to theatre. Viewpoints-based choreography contributes attention to time and space, playfulness, and ensemble connection. Both value the audience’s contribution as an integral part of the work through the immediacy of a real-time meeting. Together they provide a framework for setting up a dialogical performance environment in which a cast, drawn from all over India, are able to bring their traditions, psychologies, gestural languages and beliefs into the work. The choreographic approach allows extant text and body text an independence that is constantly negotiated, constantly changing and surprising. These frameworks hold a combination of the artistically fixed and the improvisationally free. Both encourage agency in all collaborators. These qualities make them powerful and repeatable tools for engagement with the present. They treat the audience as participating guests, moving their engagement from passive to active. The effect of this framing is performance that is filled with a sense of ‘alive-li-ness’ in an approach that is applicable in the Indian context.

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Mori, Mitsuya. "Intercultural Problems and the Modernization of Theatre in Japan." Theatre Research International 20, no. 2 (1995): 149–55. http://dx.doi.org/10.1017/s0307883300008397.

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Shakespeare was first produced in Japan in a version fairly faithful to the original when, in 1903, the actor-manager Kawakami Otojiro, who came from outside the Kabuki world, directed Othello. Some reviewers were quite critical of the production, saying that it would make no sense to call this genuine Shakespeare since the serious drama was played so badly as to become comic. Others were more sympathetic and said that one had to be satisfield with this brave undertaking since the audience seemed to have enjoyed it very much. However, most critics did not see the entire performance, either arriving late or leaving before the end. Yet they seem to have felt no need to apologize: they had simply followed the usual custom of theatre-going practised by Kabuki audiences.

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Ciampi Tsolaki, Giorgia. "Actor training at the Intercultural Theatre Institute of Singapore." Theatre, Dance and Performance Training 7, no. 3 (September 2016): 340–61. http://dx.doi.org/10.1080/19443927.2016.1217267.

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Panjwani, Varsha. "Not Minding the Gap: Intercultural Shakespeare in Britain." Multicultural Shakespeare: Translation, Appropriation and Performance 15, no. 30 (June 30, 2017): 43–57. http://dx.doi.org/10.1515/mstap-2017-0004.

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The article takes issue with the perceived space/gap between the multiple identities of mixed-heritage groups, as most of these people often pick and choose elements from all of their identities and amalgamate them into a cross-cultural whole. In recent years, such mixed-heritage groups in the U.K. have increasingly found cultural expression in Shakespeare. Focusing specifically on a number of recent Shakespearean productions, by what I term Brasian (my preferred term for British-Asians as it suggests a more fused identity) theatre companies, the article demonstrates how these productions employ hybrid aesthetic styles, stories, and theatre forms to present a layered Braisian identity. It argues that these productions not only provide a nuanced understanding of the intercultural map of Britain but are also a rich breeding ground for innovative Shakespeare productions in the U.K.

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Howard, Leigh Anne. "Connecting the World to the Word Living Newspapers and Intercultural Communication Pedagogy." Journal of Intercultural Communication 13, no. 3 (November 30, 2013): 1–14. http://dx.doi.org/10.36923/jicc.v13i3.663.

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In this study, I examine a dialogical approach to intercultural communication instruction. First, I explain an intercultural communication instruction philosophy grounded in the work of critical pedagogues, the dialogical concepts of Jurgen Habermas and Martin Buber, and a performance studies praxis based on the Living Newspaper Theatre. Then, I illustrate my experience using this type of performance as a tool for critical pedagogy in the intercultural communication classroom. I conclude by sharing implications and suggestions for applying such pedagogical techniques in the intercultural communication classroom. I argue the use of performance creates a receptive, dialogical classroom environment which enables participants to examine course content, as well as the power dynamic necessary to understand intercultural communication.

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Noonan, Mary. "Joëlle Aden (2010), An intercultural meeting through Applied Theatre; Theaterspielen als Chance in der interkulturellen Begegnung; Rencontre interculturelle autour de pratiques théâtrales." Scenario: A Journal of Performative Teaching, Learning, Research V, no. 1 (January 1, 2011): 104–6. http://dx.doi.org/10.33178/scenario.5.1.11.

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This book contains a condensed account, in three languages (French, German, English) of a theatre project for adolescents that was in preparation over a two-year period, and that resulted in a week-long residential workshop for sixty young people from six partner countries at a theatre in Forbach, on the Franco-German border in April 2009. The initial idea for a European intercultural theatre project emerged from ANRAT, the French national association for theatre action and research, who decided to focus their efforts on young migrants in the European education system. What evolved was a project in which approximately 60 adolescents speaking 24 languages between them came together with 9 theatre practitioners from the 6 countries represented (France, Spain, Greece, Holland, Germany, the United Kingdom). The work of the group was in turn followed and observed by 5 researchers drawn from the partner countries. The project, developed for use with young people who had recently emigrated to Europe, aimed to answer two questions: The book aims to show how these questions were answered in the course of the ‘intercultural meetings’ it describes. In the opening section, the author sets out the theoretical framework and the research methodology. This section is sketchy and ...

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Guillot, Marie-Noëlle, and Maria Pavesi. "AVT as intercultural mediation." Multilingua 38, no. 5 (September 25, 2019): 495–504. http://dx.doi.org/10.1515/multi-2018-0115.

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Abstract This article addresses a question central for this special issue of Multilingua on audiovisual translation (AVT) – of the relationship between the cross-cultural and the intercultural in audiovisual translation. The question underpins fundamental debates in the emergent field of AVT as cross/intercultural mediation, the focus in this volume, with subtitling and dubbing the two main interlingual modes considered in its pages from an interdisciplinary perspective embracing translation and audiovisual translation studies, pragmatics and cross-cultural pragmatics and film studies. The article doubles up as the introduction for the special issue, and provides its rationale and contents.

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Koman, Aleksandra. "Komedia dell'arte: między lokalnością a globalnością." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 17 (October 12, 2018): 241–44. http://dx.doi.org/10.24917/20811853.17.21.

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Commedia dell’arte: between localism and globalismAbstractSubject to the present review is Lokalność i mobilność kulturowa teatru. Śladami Arlekinai Pulcinelli of Ewa Bal. The author analyzes Italian dialectical theatre from a doubleperspective: local and global mobility of culture. She observes how two principal masks ofcommedia dell’arte – Harlequin and Pulcinella – evolved over the years, by investigating theirrelation to political context that may result in domestication or foreignization.Keywords: Ewa Bal, commedia dell’arte, intercultural transfer, cultural mobility, localism andglobalism of the theatre, Harlequin, evolution of masks, dialectical theatre, drama in politicalcontext

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