Bibliographies thématiques / Theatre intercultural and interdisciplinary

Littérature scientifique sur le sujet « Theatre intercultural and interdisciplinary »

Auteur : Grafiati
Publié le 25 mai 2024

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Articles de revues sur le sujet "Theatre intercultural and interdisciplinary"

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Harvey, Lou. « Adapting intercultural research for performance : Enacting hospitality in interdisciplinary collaboration and public engagement ». Arts and Humanities in Higher Education 17, no 4 (25 juillet 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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Yerushalmi, Dorit. « From a Transient to a Resident : The Acco Festival of Alternative Israeli Theatre, 2001–2004 ». TDR/The Drama Review 51, no 4 (décembre 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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Pavis, Patrice. « Theatre Studies and Interdisciplinarity ». Theatre Research International 26, no 2 (14 juin 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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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 (15 décembre 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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Parker-Starbuck, Jennifer. « Nonhuman Futures ». Theatre Journal 75, no 4 (décembre 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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Ariza, Mercedes, Maria Giovanna Biscu et María Isabel Fernándes García. « The Madness of Imagining New Worlds ». Scenario : A Journal of Performative Teaching, Learning, Research I, no 2 (1 juillet 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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Gualdron, Evelyn, et Edna Castillo. « Theater for Language Teaching and Learning : The E Theater, a Holistic Methodology ». Profile : Issues in Teachers´ Professional Development 20, no 2 (1 juillet 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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Yudiaryani, Yudiaryani, Hirwan Kuardhani et 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 (19 décembre 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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Pavis, Patrice. « On Intercultural Theatre ». Tekstualia 4, no 51 (19 décembre 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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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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Thèses sur le sujet "Theatre intercultural and interdisciplinary"

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Yip, Leo Shing Chi. « Reinventing China : cultural adaptation in medieval Japanese Nô Theatre ». The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1087569643.

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Ho, Ai-Cheng. « Application du Taiji quan au jeu de l’acteur : conception et mise en pratique d’un training créatif ». Electronic Thesis or Diss., Bourgogne Franche-Comté, 2022. http://www.theses.fr/2022UBFCC033.

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Ma recherche théorico-pratique consiste en une étude portant sur l’application de la pratique et de la philosophie du Taiji quan dans la préparation de l’acteur et de la performance théâtrale.Ma thèse entend, d’abord, analyser comment la recherche d’une conscience supérieure par la pratique du Taiji quan répond au travail des metteurs en scène européens du XXe siècle jusqu’à aujourd’hui qui vise à stimuler la conscience créative de l’acteur. Puis je réfléchirai à la façon dont l’acteur parvient à substituer à sa conscience ordinaire une tout autre conscience durant le processus de son jeu, et j’essaierai de voir comment l’entraînement physique de l’acteur facilite cette transformation psychique. C’est pourquoi j’examinerai les méthodes les plus efficaces, et en particulier la technique psycho-physique du Taiji quan. Cette technique peut être envisagée et appliquée au jeu de l’acteur afin d’activer sa créativité et d’accroitre sa présence scénique, de manière à creuser l’écart entre lui-même et son personnage, et à développer sa vigilance réactive et sa perception spatio-temporelle.Mon étude s’appuie sur une enquête de terrain à Taiwan, en Chine et en France (pratique et entretiens avec des artistes et des experts du Taiji quan, du taoïsme et de la médecine chinoise), ainsi que sur ma propre pratique du théâtre et du Taiji quan. Mes expérimentations avec des acteurs français et dans différents ateliers m’ont amenée à explorer diverses techniques du Taiji quan pour élever la conscience de l’acteur à partir d’une articulation entre tradition et modernité, théorie et pratique. Mon but est d’élaborer un nouvel entraînement de l’acteur en fusionnant des méthodologies orientales et occidentales pour obtenir une haute performance de l’acteur sur scène
My PhD research explores how Taiji quan can be applied as a valued tool to enhance the actor’s “creative self-awareness” and integrate it into the actor’s training. Taiji quan, a prominent practice in Chinese culture that fuses external exercise and internal technique, aims to coordinate and unify body and mind. Specially, I examine how the psychophysical technique of Taiji quan allows the actor to transfer his body-and-mind status to a higher level to increase his “scenic presence”, to maintain a “gap” between himself and his role to create universal emotions, and develop his perception with the outer world. In this way, I present how the actor elevates his consciousness to superior levels during the acting process and how the corporeal training of Taiji quan facilitates this transformation.The study aims to explore the diverse technique of Taiji quan in cultivating the actor’s consciousness through in-depth interviews, analysis of performances, the researcher’s practical experiences in theatre and Taiji quan, and experimental research with actors and theatre students. The study also endeavors to introduce this traditional practice into the domain of modern psychophysical acting, to develop a method that fuses Eastern and Western performance methodologies and enables actors to apply the technique to improve acting
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Loon, Robin Seong Yun. « Reading intercultural performance : the Theatre Works Intercultural Trilogy ». Thesis, Royal Holloway, University of London, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.415214.

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Guertin, Caroline Aki Matsushita. « Suzuki Tadashi's Intercultural Adaptations ». Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32872.

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Contemporary theatre is increasingly visual, an aesthetic shift that has been analyzed in, among others, Hans-Thies Lehmann’s influential Postdramatic Theatre. This shift is apparent in Japanese director Tadashi Suzuki’s intercultural adaptations, which adapt plays of the Western repertoire for contemporary Japanese and international audiences in a style that is richly and evocatively visual. Notions drawn from postdramatic theatre, metatheatre and postcolonial theories are applied as framing devices to uncover the deep cultural and theatrical significance of Suzuki’s adaptive work. My approach to analyzing the three case studies: Suzuki’s King Lear, The Trojan Women, and Cyrano de Bergerac takes a more globalized view of theatrical adaptations that acknowledges the visual turn of contemporary theatre and contributes to the fields of intercultural performance studies and adaptation studies by expanding the notion of interculturalism beyond the limits imposed by current Western analytical perspectives.
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Dotson, Jessica N. « INTERDISCIPLINARY CONNECTIONS BETWEEN SCIENCE & ; THEATRE ». VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3725.

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Abstract INTERDISCIPLINARY CONNECTIONS BETWEEN SCIENCE & THEATRE Jessica Nicole Dotson A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. Virginia Commonwealth University, 2015. Major Director: Dr. Noreen C. Barnes, Director of Graduate Studies, Associate Professor of Theatre In the 1990s, astronomer Peter Usher was searching for new ways to teach his introductory astronomy class at Pennsylvania State University. He began to engage his students by searching for astronomical connections from other disciplines. His focus was turned to the arts, especially the works of William Shakespeare. Usher found, while searching through the canon of Shakespeare's work, astronomical references that explored the “new astronomy” of the Elizabethan age (Falk 171). This thesis will explore the writings of Usher, in regard to the astronomy of Hamlet, along with the interdisciplinary connections between art and science in and outside the classroom and museum theatre. From interdisciplinary classroom methods, to arts and scientists collaborating together for the betterment of man-kind, the use of theatre is a way of rediscovering the humanity of human history. The collaboration between the disciplines serves as one of theatre's greatest purposes, to educate and represent a living history of man.
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Kagolobya, Richard. « Symbolic interaction and intercultural theatre performance dynamics in Uganda : the case of Makerere Universitys Intercultural Theatre Collaborations ». Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/96034.

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Thesis (PhD)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: This dissertation investigates and examines the dynamics of intercultural theatre practice. Existing scholarship on interculturalism in theatre praxis regards intercultural theatre as a site for bridging cultures and cross-cultural performance traditions, and for investigating the performance of power between the collaborating parties, learning, cultural imperialism, cultural translation and hybridity, among other features. However, much of the existing literature does not offer a historical perspective allowing one to understand the dynamics of contemporary North-South collaborations. Moreover, most studies do not adequately weave the experiences of the participants in such collaborations into their analyses. This study contributes to filling that research gap. This research specifically seeks to investigate and examine the dynamics of intercultural theatre collaborations in Uganda, taking Makerere University‘s Department of Performing Arts and Film‘s intercultural theatre activities in recent years as case studies. The inquiry was mainly driven by the impetus to explore the North-South intercultural theatre dynamics and to examine the socio-cultural, socio-political, socio-economic features and other notions that were manifested in these intercultural theatre collaborations and performances. In order to pursue the above line of inquiry I used a multiple case study design by examining three cases: the Stanford-Makerere, New York-Makerere and the Norwegian College of Dance-Makerere collaborations. The multi-case study model was reinforced by the use of personal interviews, direct observation, focus group discussions, document analysis and emails of inquiry in order to solicit the views of individuals who had participated in the above collaborations. Theoretically, the study is hinged on a multiplicity of concepts and discourses: symbolic interaction, intercultural communication, theatre studies, postcolonial studies, international education and the discourse on globalisation. In the analysis of the different cases it was discovered that the issue of economic inequality in the contribution towards the funding of the collaborations, among the different modes of power performativity manifested in the collaboration processes, sometimes leads to an imbalance in the decision-making process. Consequently, the power imbalance contributes to the North-South intercultural theatre collaborations‘ unending crisis of identification with imperialism. The study further shows that there are cultural, linguistic, pedagogical, structural and socio-psychological aspects of difference that are negotiated during the course of the collaborations. It was found that the process of navigating the socio-cultural differences provides the participants with an experiential learning environment of living with/within and appreciating cultural differences, thus providing a bridge across the socio-cultural divide. The cultural bridge in theatrical terms, however, leads to the generation of theatrical hybridity and fusion, which again brings into play the debate on intercultural performance authenticity/inauthenticity in theatre discourse. Also, based on the view that intercultural theatre collaborations are microcosms of multifaceted global intercultural interactions, it was seen that the socio-cultural differences that are negotiated through the intercultural theatre collaborations can give one a microcosmic platform for critiquing the grand concept of the ―global village‖ and the associated notion of ―world cultural homogenisation‖. Since this study uses a novel multidisciplinary approach in the analysis of intercultural theatre phenomena, I believe it will contribute to critical theatre studies in Uganda and elsewhere. The findings will also hopefully contribute towards the assessment of intercultural theatre collaborations at Makerere University in order to improve them. The study will also advance the view that intercultural theatre‘s aesthetic and experiential processes can help in interpreting and understanding our respective multicultural environments. Broadly, it will contribute to the discourse on intercultural communication, performance and cultural studies.
AFRIKAANSE OPSOMMING: Hierdie proefskrif ondersoek die dinamika van interkulturele teaterpraktyk. Bestaande navorsing oor interkulturaliteit in die teaterpraktyk beskou interkulturele teater as ‘n forum vir die oorbrugging van kultuurgrense en interkulturele opvoeringstradisies, en vir die ondersoek na aangeleenthede soos die uitvoering van mag tussen die deelnemende partye, leer, kulturele imperialisme, kulturele vertaling en hibriditeit. Die bestaande literatuur bied egter grotendeels nie ‘n historiese perspektief waaruit die dinamika van kontemporêre Noord-na-Suid-samewerkings verstaan kan word nie. Verder verweef die meeste ondersoeke nie die ervarings van die deelnemers aan sulke samewerkings bevredigend in hul analises nie. Hierdie ondersoek dra by tot die vul van daardie navorsingsgaping. Hierdie navorsing poog spesifiek om die dinamika van interkulturele teatersamewerkings in Uganda te ondersoek deur van onlangse interkulturele teateraktiwiteite aan die Departement Uitvoerende Kuns en Film aan die Makerere Universiteit gebruik te maak as gevallestudies. Die beweegrede vir die ondersoek is hoofsaaklik die verkenning van die dinamika van interkulturele Noord-na-Suid-teatersamewerking en ‘n ondersoek na die sosio-kulturele, sosio-politiese en sosio-ekonomiese kenmerke en ander opvattinge wat in hierdie interkulturele teatersamewerkings en -opvoerings gemanifesteer het. Om hierdie ondersoek te onderneem, het ek drie gevalle in ‘n meervoudigegevallestudie-ontwerp bestudeer: die samewerkings tussen onderskeidelik Stanford en Makerere, New York en Makerere, en die Norwegian College of Dance en Makerere. Die meervoudigegevalle-ontwerp is versterk deur die gebruik van persoonlike onderhoude, direkte waarneming, fokusgroepgesprekke, dokumentanalise en e-posnavrae in ‘n poging om die opvattings van individue wat aan die bogenoemde samewerkings deelgeneem het, te verkry. Teoreties is die studie gefundeer in ‘n veelvoud konsepte en diskoerse: simboliese interaksie, interkulturele kommunikasie, teaterstudies, postkoloniale studies, internasionale opvoedkunde en die diskoers oor globalisering. In die analise van die verskillende gevalle is bevind dat die kwessie van ekonomiese ongelykheid in bydraes tot die befondsing van samewerkings, onder die verskillende modusse van magsperformatiwiteit wat in die samewerkingsprosesse gemanifesteer het, soms ‘n wanbalans in die besluitnemingsproses tot gevolg het. Gevolglik dra hierdie magswanbalans by tot die nimmereindigende krisis van identifikasie met imperialisme waaronder interkulturele Noord-na-Suid-teatersamewerkings gebuk gaan. Die ondersoek toon verder dat daar kulturele, linguistiese, pedagogiese, strukturele en sosio-psigologiese verskille is wat oorkom moet word vir suksesvolle samewerkings om plaas te vind. Daar is bevind dat die hantering van sosio-kulturele verskille die deelnemers van ‘n eksperimentele leeromgewing voorsien vir die belewing en waardering van kultuurverskille, waardeur die sosio-kulturele skeiding oorbrug word. Die kulturele brug lei egter, in toneelmatige terme, na die ontwikkeling van toneelmatige hibriditeit en versmelting, wat weer die debat oor die outentisiteit al dan nie van interkulturele opvoerings in die teaterdiskoers aktiveer. Verder is daar, gebaseer op die siening dat interkulturele teatersamewerkings mikrokosmosse van veelvlakkige globale interkulturele interaksie is, bevind dat die sosio-kulturele verskille wat deur interkulturele teatersamewerkings oorkom word, ‘n mikrokosmiese platform kan voorsien vir die kritisering van die begrip van die sogenaamde ―wêrelddorpie‖ en verwante nosies van wêreldwye kulturele homogenisering. Aangesien hierdie ondersoek ‘n nuwe multidissiplinêre benadering tot die analise van interkulturele teaterverskynsels gebruik, glo ek dit sal bydra tot die teaterkritiek in Uganda en elders. Die bevindinge sal hopelik bydra tot die assessering van interkulturele teatersamewerkings aan Makerere Universiteit om hulle te verbeter. Die ondersoek sal ook die siening voortdra dat interkulturele teater se estetiese en ervaringsprosesse kan help met die interpretasie en verstaan van ons onderskeie multikulturele omgewings. Breedweg sal dit bydra tot die diskoers oor interkulturele kommunikasie, opvoering en kultuurstudie.
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Holman, Anna Caitlin. « Culture and identity : language use in intercultural theatre ». Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/61176.

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In the practice and production of intercultural theatre, language has held a variety of functions. However, the connection between language and culture in the theoretical models of intercultural theatre has been largely unexplored. The theories of linguistic anthropologists Dell Hymes, Richard Bauman, Joel Sherzer, and Charles Briggs postulate that language is a fundamental component of culture and that performative events present ideal sites for analysis. Mary Bucholtz, Kira Hall, and Norma Mendoza-Denton theorize that identity is a performative act of the self and other through language. Given these theories, this research asks: how does language function as a property of culture and identity in intercultural theatre? To answer this question, I have examined the role of language in two intercultural theatre productions which previewed in Vancouver, Canada in 2016. The analysis of these two works, Kayoi Komachi: A Noh Chamber Opera and Lady Sunrise, includes live and video-recorded performance analyses, script analysis, and interviews with the participating artists. This thesis demonstrates that language in intercultural theatre both informs cultural representation and influences the identities of the performers and their characters. With these findings, this research suggests that future models of intercultural theatre frame culture within a linguistic context.
Arts, Faculty of
Theatre and Film, Department of
Graduate
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Shih, Wen-shan. « Intercultural theatre, two Beijing opera adaptations of Shakespeare ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ49874.pdf.

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Mallett, A. « Composing for musical theatre : approaches to interdisciplinary collaboration ». Thesis, Bath Spa University, 2018. http://researchspace.bathspa.ac.uk/11591/.

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This study investigates how a composer negotiates the transition from previous solo working practices into an interdisciplinary setting, through the creation of four original works of musical theatre. Experiences of composing within three contrasting collaborative models are considered within a framework of socio-psychological, organisational and creative collaboration theory, and cross-referenced with interview evidence from contemporary musical theatre composers. A five-stage process in the development of a collaborative musical theatre project is presented, illustrating key factors influencing each phase. The musical theatre environment is shown to be an ideal setting for both research into collaborative creativity, and the nurturing of collaborative skill. By consciously exploiting diversity as a resource, the composer can both enrich their compositional practice and learn to collaborate more effectively. Auto-ethnographic research can further enhance this development, with the mental act of self-observation fostering a sense of self-awareness that promotes innovative approaches to the compositional process. The role of composer-researcher demands a flexibility of thought and approach that supports the duality required to effectively shift between collaborative and solo contexts, and the microcosm and macrocosm of the show.
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McAllister-Viel, Tara. « Toward an intercultural/interdisciplinary approach to training actors' voices ». Thesis, University of Exeter, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426164.

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Livres sur le sujet "Theatre intercultural and interdisciplinary"

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1946-, Kettemann Bernhard, et Marko Georg, dir. Crossing borders : Interdisciplinary intercultural interactions. Tübingen : Gunter Narr, 1999.

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Leffler, Elliot. Applied Theatre and Intercultural Dialogue. Cham : Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-98515-8.

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1949-, Brunt Richard James, et Enninger Werner, dir. Interdisciplinary perspectives at cross-cultural communication. Aachen : Rader, 1985.

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Roche, Jörg, et Thomas Salumets. Germanics under construction : Intercultural and interdisciplinary prospects. München : Iudicium Verlag, 1996.

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Feng, Wei. Intercultural Aesthetics in Traditional Chinese Theatre. Cham : Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40635-6.

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Jones, Peter. Intercultural Learning : Critical preparation for international student travel. Broadway : UTS ePRESS, 2019.

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Jews and theatre in an intercultural context. Leiden : Brill, 2012.

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Eckhard, Breitinger, et Gesellschaft für die Neuen Englischsprachigen Literaturen., dir. Theatre and performance in Africa : Intercultural perspectives. Bayreuth, Germany : Bayreuth University, 1994.

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Eckhard, Breitinger, dir. Theatre and performance in Africa : Intercultural perspectives. Bayreuth : E. Breitinger, 1994.

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Eckhard, Breitinger, dir. Theatre and performance in Africa : Intercultural perspectives. 2e éd. Bayreuth, Germany : Eckhard Breitinger, Bayreuth University, 2003.

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Chapitres de livres sur le sujet "Theatre intercultural and interdisciplinary"

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Ledger, Adam J. « Intercultural Theatre ». Dans Odin Teatret, 159–91. London : Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137284488_6.

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Jordan, Eamonn. « Intersectional/Intercultural Conflicts, Mésalliances and Irreconcilabilities ». Dans Irish Theatre, 170–95. New York : Routledge, 2023. http://dx.doi.org/10.4324/9781003180074-8.

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Leffler, Elliot. « Epilogue : Beyond Theatre ». Dans Applied Theatre and Intercultural Dialogue, 171–96. Cham : Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-98515-8_7.

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Dundjerović, Aleksandar Sasha. « Interdisciplinary Performative Pedagogies in Macbeth Projeto ». Dans Live Digital Theatre, 127–57. London : Routledge, 2023. http://dx.doi.org/10.4324/9781003275893-9.

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Houlihan, Barry. « The Pike Theatre and Intercultural Ireland ». Dans Theatre and Archival Memory, 103–23. Cham : Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74548-6_4.

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Abdul-Jabbar, Wisam Kh. « The Intercultural, Educational, and Interdisciplinary Borderlines ». Dans Medieval Muslim Philosophers and Intercultural Communication, 1–20. New York : Routledge, 2022. http://dx.doi.org/10.4324/9780367854133-1.

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McManus, Donald C. « Cyrano’s Intercultural Voyages in India ». Dans Playing with Theory in Theatre Practice, 189–200. London : Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-0-230-36410-3_14.

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Leffler, Elliot. « It’s Personal : Autobiographical Stories as Catalysts for Playful Dialogue ». Dans Applied Theatre and Intercultural Dialogue, 73–98. Cham : Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-98515-8_4.

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Leffler, Elliot. « “Stepping Out” : The Physical Play and Incorporeal Dialogue of Applied Theatre Processes ». Dans Applied Theatre and Intercultural Dialogue, 23–49. Cham : Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-98515-8_2.

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Leffler, Elliot. « Introduction ». Dans Applied Theatre and Intercultural Dialogue, 1–21. Cham : Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-98515-8_1.

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Actes de conférences sur le sujet "Theatre intercultural and interdisciplinary"

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BELLEAU, Sylvie. « The Otherness through Le rêve d’Urmila (Urmila’s Dream), an Interdisciplinary and Intercultural Research Creation Doctoral Project through Natyashastra ». Dans The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0016.

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This communication will present how research creation based doctoral project can be an opportunity to explore the Otherness and other disciplines, to open to new realms of research as well as to question the artist’s posture in his journey between the culture of origin and the culture of the discipline in which he trains. As an apprentice, I studied kathakali in South India in my early twenties and it influenced all my theatre practice. The dance-theatre of Kerala has been part of my creative tools since the beginning of my creative life as a professional stage artist. My doctoral research was a way to question the footprint of the kathakali training in a creation project, to deepen my knowledge of Indian theatre and to explore the connections between kathakali, Natyasastra, the classical Indian treaty of dramaturgy, and my doctoral creation, Le rêve d’Urmila, which has been presented in September 2018 at Université Laval, in Quebec City. As part of my doctoral research on cultural hybridity, I had to train a group of western artists to dance and play with the codes of Indian dance to reach the level of cultural and disciplinary competence needed to produce the doctoral creation. I will thus present the specificities of the training process and expose the ways in which we explored various elements of the kathakali performance: the four abhinaya, rhythmic and musical elements, etc.
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Kennedy-Karpat, Colleen. « Adaptation studies in Europe ». Dans 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.02015k.

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Adaptation is a creative process that crosses and blurs boundaries: from page to stage, from small screen to big screen – and then, sometimes, back again. Beyond questions of form and medium, many adaptations also cross national borders and language barriers, making them important tools for intercultural communication and identity formation. This paper calls for a more intensive, transnational study of adaptation across print, stage, and screens in EU member and affiliate countries. For the highest possible effectiveness, interdisciplinarity is key; as a cultural phenomenon, adaptation benefits from perspectives rooted in a variety of fields and research methods. Its influence over transnational media flows, with patterns in production and reception across European culture industries, offers scholars a better understanding of how narratives are transformed into cultural exports and how these exchanges affect transnational relationships. The following questions are proposed to shape this avenue for research: (1) How do adaptations track narrative and media flows within and across national, linguistic, and regional boundaries? (2) To what extent do adapted narratives reflect transnational relationships, and how might they help construct Europeanness? (3) How do audiences in the EU respond to transnational adaptation, and how are European adaptations circulated and received outside Europe? (4) What impact does adaptation have in the culture industries, and what industrial practices might facilitate adaptation across media platforms and/or national boundaries? The future of adaptation studies and of adaptation as a cultural practice in Europe depends on the development of innovative, comparative, and interdisciplinary approaches to adaptation. The outcomes of future research can hold significant value for European media industries seeking to expand their market reach, as well as for scholars of adaptation, theater, literature, translation, and screen media.
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Kennedy-Karpat, Colleen. « Adaptation studies in Europe ». Dans 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.02015k.

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Adaptation is a creative process that crosses and blurs boundaries: from page to stage, from small screen to big screen – and then, sometimes, back again. Beyond questions of form and medium, many adaptations also cross national borders and language barriers, making them important tools for intercultural communication and identity formation. This paper calls for a more intensive, transnational study of adaptation across print, stage, and screens in EU member and affiliate countries. For the highest possible effectiveness, interdisciplinarity is key; as a cultural phenomenon, adaptation benefits from perspectives rooted in a variety of fields and research methods. Its influence over transnational media flows, with patterns in production and reception across European culture industries, offers scholars a better understanding of how narratives are transformed into cultural exports and how these exchanges affect transnational relationships. The following questions are proposed to shape this avenue for research: (1) How do adaptations track narrative and media flows within and across national, linguistic, and regional boundaries? (2) To what extent do adapted narratives reflect transnational relationships, and how might they help construct Europeanness? (3) How do audiences in the EU respond to transnational adaptation, and how are European adaptations circulated and received outside Europe? (4) What impact does adaptation have in the culture industries, and what industrial practices might facilitate adaptation across media platforms and/or national boundaries? The future of adaptation studies and of adaptation as a cultural practice in Europe depends on the development of innovative, comparative, and interdisciplinary approaches to adaptation. The outcomes of future research can hold significant value for European media industries seeking to expand their market reach, as well as for scholars of adaptation, theater, literature, translation, and screen media.
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Stănescu, Mirona. « Change Of Perspective : Biographical Theatre And Intercultural Education ». Dans 9th International Conference Education, Reflection, Development. European Publisher, 2022. http://dx.doi.org/10.15405/epes.22032.11.

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Greenberg, Jessica, et Brian Rague. « Digital Theatre Design - An Interdisciplinary Course Connecting Computing and Theatre Arts ». Dans SIGCSE '21 : The 52nd ACM Technical Symposium on Computer Science Education. New York, NY, USA : ACM, 2021. http://dx.doi.org/10.1145/3408877.3439563.

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Foster, Frank, et Joan Collins. « Computer animation festival/electronic theatre ». Dans ACM SIGGRAPH 95 Visual Proceedings : The art and interdisciplinary programs of SIGGRAPH '95. New York, New York, USA : ACM Press, 1995. http://dx.doi.org/10.1145/216037.225466.

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Filatova, Natalia. « Russian Comedians and the First Theatre School in Russia For the 350th Anniversary of the First Theatre School in Russia ». Dans 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Paris, France : Atlantis Press, 2016. http://dx.doi.org/10.2991/icelaic-15.2016.81.

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Ivashchenko, Yana. « Regional Intercultural Communication Models : Structural And Typological Analysis ». Dans International Conference on Language and Technology in the Interdisciplinary Paradigm. European Publisher, 2021. http://dx.doi.org/10.15405/epsbs.2021.12.46.

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Takacs, Ildiko-Csilla. « MANAGING INTERCULTURAL SKILLS AND CROSS-CULTURAL PRACTICES THROUGH INTERDISCIPLINARY APPROACHES ». Dans 9th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscss.2022/s04.045.

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In the world of academia, research and teaching are never really disconnected interests. On the contrary, they co-exist in a virtuous circle, where each feed into the other and focus on the interdisciplinary frameworks, which motivate the innovative structures of higher education and maintain discourse relations by providing in a concise way, an ocean of information about abstract knowledge. The implementation of interdisciplinary subjects, such as innovative language strategies, effective Intercultural Communication, and cross-disciplinary practices could be as challenging as esteemed for continuous professional development. The research area includes various aspects related to interdisciplinary fields by integrating socio-cultural data and cross-cultural dimensions with soft skills invariably serving as a point of reference; its interdisciplinary nature, owing to the developments in language, business, and intercultural research which have influenced its evolution. Intercultural studies, as well as experimental work, reveal that critical thinking can be trained to use task performance of the learning strategy that affects the way people process, acquire, organise, or integrate new knowledge. Provided academics adjoin the assumptions presented by cognitive sciences to the configuration of Figurative Competence, training learners� cognitive skills both at the conceptual and the verbal level becomes a necessary obligation. The aim of the interdisciplinary approach is to offer mentally challenging analytical thinking and reasoning with a focus on comprehension, strategies of effective communication and control through the implementation of cognitive models. Thus, insightful thoughtfulness, enhanced by explicit analysis and teaching in particular domains is supportive when encountering new paradigms to make a contrastive study of an interdisciplinary subject for reasons connected to the methodology of research.
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Ladygina, Olga. « Intercultural Dialogue in Postmodern Conditions ». Dans Proceedings of the International Conference "Topical Problems of Philology and Didactics : Interdisciplinary Approach in Humanities and Social Sciences" (TPHD 2018). Paris, France : Atlantis Press, 2019. http://dx.doi.org/10.2991/tphd-18.2019.46.

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