Intercultural Performance Research Papers - Academia.edu (original) (raw)

Chapter 7, "Disowning Shakespeare and China," delineates the theoretical and political consequences of disowning “Shakespeare” and “China” in the present time. Part of the question of consequence necessarily remains open-ended, as international circumstances continue to change. However, a number of new trends in performance since 1990 have gained momentum. Stan Lai’s Lear and the Thirty-seven-fold Practice of a Bodhisattva (Pusa zhi sanshiqizhong xiuxing zhi Li’er wang) and Wu Hsing-kuo’s Lear Is Here (Li’er zai ci) exemplify performances that are framed by the artists’ autobiography and religious discourse. They signal the arrival of a new Asian identity in the global marketplace of cultures. The grand narrative of East meets West now coexists with an account of the living, contemporary directors’ personal engagement with Shakespeare, and with new but equally elusive categories such as “I” and “Shakespeare.”

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- Buddhist Studies, Shakespeare, Intercultural Performance, East Asian Studies
- by Yoni Prior
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- Intercultural Performance, Jewish Theatre, Barrie Kosky
- by Purnur Ucar-Ozbirinci
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- American Literature, English Literature, Women's Studies, Feminist Theory

ENGLISH: The article starts off translating into French an essay in Italian, "Il traduttore camaleonte" (above), then, after a few paragraphs, forgoes the linguistic considerations, given the different intended public, and becomes instead a new article on the essence of translation (and negotiation) competence, how to acquire it, how to use it.
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FRANÇAIS: L'article commence en traduisant en français un essai en italien, "Il traduttore camaleonte" (ci dessus), puis, après quelques paragraphes, étant donnée la diversité des destinataires, met de côté les considérations linguistiques et devient un nouvel article qui décrit le savoir du traducteur (et du négociateur), comment l'acquérir, comment l'utiliser.
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ITALIANO: L'articolo inizia come la traduzione in francese del saggio "Il traduttore camaleonte" (qui sopra) – poi, dopo qualche paragrafo, causa il diverso pubblico destinatario, tralascia le considerazioni linguistiche per diventare un articolo originale sul sapere del traduttore (et del negoziatore), su come acquisirlo, su come usarlo.
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-La lírica del huayno andino-
Espacio de configuración de la identidad social de la población andina en la década de los 80’s en Lima

- by Sofia Marques
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- Music, Performance Studies, Intercultural Performance, Fado

This paper examines Indigenous-settler performance-making processes in Choctaw artist Randy Reinholz’s residential school adaptation of Measure for Measure, Off the Rails, at the Oregon Shakespeare Festival, and City Opera Vancouver’s Missing, a chamber opera dedicated to British Columbia’s missing and murdered Indigenous women with libretto by Métis/Dene playwright Marie Clements. Based on my experience observing rehearsals for both productions and in conversation with the central Indigenous creators, I have analysed the ways in which performance-making processes can foster intercultural relationship-building, recognize and engage with the land upon which they occur, and initiate a company’s long-term commitment to Indigenous artists. This work theorizes how Indigenous resistance can be enacted, either dramaturgically or otherwise, from within Indigenous-settler performance-making processes. It also examines the ways in which privileged settler researchers, like myself, can responsibly engage with Indigenous research paradigms and epistemologies.

- by Melissa Poll
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- Theatre Studies, Performance Studies, Operations Research, Intercultural Performance

As we gain increasing access to differing cultures around the word it is hardly surprising that we tend to seek to learn from one another. This is particularly likely to be the case in those domains where other societies appear to be more successful. While it may be comparatively easy to borrow ideas from others in design, engineering and fashion, taking ideas from the educational practices of others has often proven to be more complex than was thought in the 1980s and 1990s.
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This chapter opens by discussing the eagerness of countries such as the US and UK to emulate a number of educationally high performing countries in Asian and Eastern Europe. It discusses the initial focus upon pedagogy, in particular, whole class interactive teaching, which is a feature of many of these societies’ educational practices. The chapter draws upon developments in Russia to illustrate our argument that more meaningful reasons for educational success concern attitudes and behaviour, not only those of students and teachers, but also those of the wider society. The chapter concludes by drawing upon the Russian experience to highlight a number of risks to Asian education systems that are posed by rapid social change underpinned by globalising influences.

- by Mai Nguyen-Phuong-Mai
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- Cultural Studies, Multiculturalism, Education, Intercultural Communication
- by Kristinn Schram
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- Folklore, Self and Identity, Performance Studies, Identity (Culture)

The Shakespeare in Practice network launched in 2008 to bring together scholars developing performance-based approaches to the study of Shakespeare. To mark our tenth anniversary, and to celebrate the latest volumes in the Palgrave book series Shakespeare in Practice, this conference showcases new and daring approaches to performing Shakespeare, as well as issues facing contemporary theatre such as non-directed Shakespeare, immersive performance and digital theatre. Presentations will offer new insights into theatre history in relation to Shakespeare.

- by Alexa Alice Joubin
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- Globalization, Shakespeare, Contemporary British Theatre, Adaptation
- by Aylwyn Walsh
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- Theatre Studies, Intercultural Performance, Theatre and Pedagogy

Özünde dünya kültürleri arasında kaynaşmayı ve farklı kültürlerin bir araya getirilmesini amaçlayan kültürlerarası tiyatro uygulamaları çok tartışılmaktadır. Batı tiyatrosunun doğunun kültürel mirasını, o kültürü benimsemeden sahneye taşıması, doğulu birçok eleştirmen tarafından kültürel sömürü olarak nitelendirilmektedir. Bu çalışmada yer alan söyleşiler tiyatroya emek vermiş seçkin akademisyen, yönetmen, oyuncu ve dramaturgların kültürlerarası tiyatro hakkındaki düşüncelerini kaydetmek amacı ile bir araya toplanmıştır. Sayın Prof. Dr. Sevda Şener, Prof. Dr. Bozkurt Kuruç, Prof. Dr. Ayşegül Yüksel, Prof. Dr. Yusuf Eradam, Ferdi Merter, Erhan Gökgücü, Tamer Levent, Özcan Özer, Dr. Deniz Taşkan ve Dr. Erkan Ergin ile gerçekleştirilen söyleşiler hala tartışmalı bir terim olan kültürlerarası tiyatronun ülkemizdeki yerini daha iyi anlamamızı sağlayacaktır. Kitap Devlet Tiyatroları Opera ve Balesi Çalışanları Yardımlaşma Vakfı, Tunalı Hilmi Cad. 72/10, Kavaklıdere/Ankara, (TEL: 0 312 427 85 88, tobav@tobavnet.org) ya da Başkent Üniversitesi, Amerikan Kültürü ve Edebiyatı Bölümü, Eskişehir Yolu 20 km. Bağlıca/Ankara (Tel: 0 312 234 1010 / 2031, purnur@gmail.com) adreslerinden ücretsiz temin edilebilir.

- by Purnur Ucar-Ozbirinci
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- Intercultural Performance
- by Declan Patrick
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- Intercultural Performance, Practice as Research, Philippine Studies

In the art and entertainment industry, race is both visible and invisible in various forms of embodiment. Depending on the context, doing Shakespeare while a minority can invite different responses. It is one thing for Indian actors to perform Shakespeare in India, where the actor is not part of a minority. It is quite another to do Shakespeare in a country where one is perceived to be “non-mainstream” or different. It is important to tell the story of the making and reception of “locally grown” works that are somehow perceived as “global” or exotic because of the artists’ identities. Meaningful diversity is the key here. Diversity in the arts is not about checking boxes on some survey form, but rather about a wider range of rich narratives about the human experience. Enriched by multiracial and multiethnic casting and multilingual performance strategies, these performances are far from simple tales of black versus white, or the subaltern versus the authority (e.g. Shakespeare providing the universal theme, while black actors bring the music and dance; Shakespeare has got privileged poetry; black dancers have got “exotic” rhythm). Being black does not necessarily mean being tribal or believing in witchcraft. Diasporic Shakespeare is all about enriching our experiences with drama.

- by Alexa Alice Joubin
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- Gender Studies, Intercultural Communication, Digital Humanities, Shakespeare
- by Alexa Alice Joubin and +1
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- Ethics, Theatre Studies, Women's Studies, Film Studies

The STC Macbeth’s setting and predominantly multiethnic cast brought to mind Orson Welles’s landmark 1936 Macbeth which was set in Haiti and featured an all-black cast. In both cases, the ethnicity and race of the cast matched that of the characters and cultures in the adaptation’s respective universe. Tommy’s production engaged in two models of nontraditional casting, namely conceptual casting, a model “in which actors of color are [self-consciously] cast in roles to enhance the play’s social resonance,” and cross-cultural casting, an approach that translates the universe of the play to a different culture and location. In some instances, multicultural theater, whether made locally or imported as touring theater, can receive mixed reception due to audience’s investment in some form of cultural authenticity. Iqbal Khan’s Much Ado About Nothing (RSC, Stratford-upon-Avon, August, 2012), for example, was set in contemporary Delhi and performed by a cast of second-generation Indian British actors. The production appropriated Bollywood-inspired music.

- by Alexa Alice Joubin
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- Multiculturalism, Globalization, Shakespeare, African Diaspora Studies

Jerzy Grotowski, a Western theatrical practitioner who incorporated psychophysical methods to help sustain the immediacy of the body and power of presence in performance, acknowledged the influence of non-Western embodied spiritual practices, such as Sufism and Mevlevi dance. In this article, I propose that the whirling dance of the dervish was a transformational influence on Grotowski and facilitated the development of his psychophysical program of actor training and rehearsing. This influence is under-acknowledged in scholarship on Grotowski, indicating possible anxiety in Western theatrical traditions about the incorporation of spiritual practices, especially those associated with Islam.

- by Serap Erincin
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- Intercultural Performance, Jerzy Grotowski, Transculturalism, Trance

The transmission of Renaissance culture in China began with the arrival of the first Jesuit missionaries in 1582, followed by the Dominicans and Franciscans in the 1630s. The uses of Shakespeare’s plays in spoken drama and Chinese opera are informed by a paradigm shift from seeking authenticity to foregrounding artistic subjectivity. Shakespearean themes and characterization have enriched, challenged, and changed Chinese-language theatres and genres. Chinese and Sinophone Shakespeares have become strangers at home.

- by Alexa Alice Joubin
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- Chinese Studies, Shakespeare, Intercultural Performance, Taiwan Studies

Readings of literary texts are always shaped by a reader’s particular location and knowledge, but those locations are themselves defined by their histories. Romeo and Juliet has inspired new sets of allegorical vocabularies of history in locations without confrontations with the English heritage in colonial contexts. Why is the reading of a canonical text often said to authorize a meaning different from what it literally says when read cross-culturally? How do allegory and local histories develop and intersect on stage? As an integral part of the cultural practice of narrativizing local history, allegorical interpretation plays an important role in creating a sense of semiotic referentiality for theatre works that cater predominantly to audiences in local markets. This article examines two productions of Romeo and Juliet in Taiwan and southwestern China (in the forms of Taiwanese opera, gezaixi, and Yunnan flower lantern opera, huadengxi) characterized by their decidedly local networks of signification.

- by Alexa Alice Joubin
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- Translation Studies, Shakespeare, Adaptation, Intercultural Performance
- by Kristinn Schram
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- Folklore, Self and Identity, Performance Studies, Identity (Culture)

Roysten Abel'sThe Manganiyar Seductionis perhaps the most popular performance of Indian folk music on the global festival market today. This performance of Rajasthani folk music is an apt exemplification of an auto-exoticism framed as cultural commodity. Itsmise en scèneof musicians framed, literally, by illuminated red square boxes ‘theatricalizes’ Rajasthan's folk culture of orality and gives the performance a quality of strangeness that borders on theatre and music, contemporary and traditional. The ‘dazzling’ union of the Manganiyars' music and the scenography of Amsterdam's red-light district engendered an exotic seduction that garnered rave reviews on its global tour. This paper examines the production's performative interstices: the in-betweenness of sound and sight where aural tradition is ‘spectacularized’. It will also analyse the shifting convergences of tradition and cultural consumption and further interrogates the role of reception in the constructi...

- by Marcus Tan
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- History, Cultural Studies, Theatre Studies, Ethnomusicology

Roysten Abel's The Manganiyar Seduction is perhaps the most popular performance of Indian folk music on the global festival market today. This performance of Rajasthani folk music is an apt exemplification of an auto-exoticism framed as cultural commodity. Its mise en scène of musicians framed, literally, by illuminated red square boxes ‘theatricalizes’ Rajasthan's folk culture of orality and gives the performance a quality of strangeness that borders on theatre and music, contemporary and traditional. The ‘dazzling’ union of the Manganiyars' music and the scenography of Amsterdam's red-light district engendered an exotic seduction that garnered rave reviews on its global tour. This paper examines the production's performative interstices: the in-betweenness of sound and sight where aural tradition is ‘spectacularized’. It will also analyse the shifting convergences of tradition and cultural consumption and further interrogates the role of reception in the construction of such ‘exotic’ spectacles.

- by Marcus Tan
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- Theatre Studies, Ethnomusicology, Intercultural Performance

The controversial theory of intercultural performance covers a wide range of theatrical practices, which intend to adapt subject matter and situations from one culture to another. This intention mainly involves a transportation and translation of elements and perspectives across cultures. The translator, the audience or reader, and the director fill in the gaps that are formed during this transportation and translation with their own interpretations, in accordance with the culture they inhabit. However, intercultural performance requires conscious attempts to merge two different cultures. Such attempts should not be done solely for the ‘target’ culture's audience but should also regard the perceptions of the ‘source’ culture as much as possible. In light of this, Turkish State Theatre's director Ferdi Merter's production ofA Streetcar Named Desireis analysed in order to locate the distinct changes the Turkish interpretation of the play has incorporated.

- by Purnur Ucar-Ozbirinci
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- American Literature, History, Cultural Studies, Dramatic Literature

And God Said (2009, 2010) was an international project involving artists from different parts of the world, in pursuit of art forms that speak beyond language and culture and redefine civic understanding. Written and directed by Avra Sidiropoulou and featuring two acclaimed Turkish actors, Derya Durmaz and Teoman Kumbaracibasi, this project was a continuation of Persona’s long-time involvement with international collaboration and especially with bringing together artists from Greece and Turkey. First performed at garajistanbul, in Istanbul, Turkey, the multi-media project combines an imagistic, poetic text with original animation by Silo 1 and an original musical score by Vanias Apergis, supporting Persona’s faith in theatre as a total work of art.

- by Avra Sidiropoulou
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- Theatre Studies, Directing, Intercultural Performance, Intercultural Theatre

Dancing with Difference debates issues surrounding the teaching of culturally diverse dances in formal education in New Zealand. The global vicissitudes of migration and migrant diasporas are contingent with increased cultural diversity in classrooms, making this book timely, a leader in its field. As part of a growing body of literature from New Zealand, it is also ground breaking providing in-depth, possibly controversial, and yet accessible coverage of a topic less widely covered internationally for far too long in comparison to the more widely practiced western aesthetic of dance improvisation, choreography and various techniques.
My extensive theoretical and practical background in western contemporary dance and education is the seed of this book. In confronting the parameters of the dance that I was trained in, the story that this book tells is unleashed. This topic arose through doctoral research that took place in New Zealand, from an ethnographic investigation in New Zealand from 2004 to 2006. The voices of teachers, dance educators and dance specialists are at the heart of the book. The dilemmas, challenges and opportunities that they talk about may well sound familiar to an international readership, and can be seen to overlap with those faced by the larger dance and more general arts communities.
The debate, however, intersects with other fields including anthropology, ethnography, educational philosophy and socio-cultural theory as relevant to dance and dance in education. Attention is drawn to concerns and issues surrounding notions of tradition, appropriation, authenticity and acculturation and matters of social justice.

- by Colette Gordon
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- Performance Studies, Intercultural Performance, Clown, Hamlet

通过合作和参与，Alexa 充实和吸收了大量的全球性莎士比亚演绎和改编的案例。她在斯坦福大学攻读学位以及自己通晓多国语言的基础，为她建立一种全球性的客观眼光，进一步参与全球化莎士比亚研究奠定了坚实的基础。

- by Alexa Alice Joubin
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- Translation Studies, Globalization, Shakespeare, Intercultural Performance

The idea of trauma has become so used in the public sphere as to become almost meaningless in its ubiquity. But this is also to say that we live in a historical moment in which society feels bound to its traumatic experiences. Trauma, it would seem, has become a cultural trope. Furthermore, contemporary trauma theory suggests a performative bent in traumatic suffering itself – the trauma-symptom is, after all, a rehearsal, re-presentation, re-performance of the trauma-event. This is not to trivialise traumatic suffering or detract from the insistence that trauma narratives must adequately, truthfully, be borne witness to so as not to diminish the weight of the original event. On Trauma explores a range of instances in which performance becomes a productive frame through which to address traumata and/or where trauma theory illuminates performance. With papers examining topics from African funeral rituals to witnessing, and ethics to Argentinean scratches, this issue of Performance Research benefits from a cross-cultural dynamic which brings together academic articles on and artistic responses to performance that embodies, negotiates, negates or provokes trauma.

- by Patrick Duggan
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- Theatre Studies, Performance Studies, Performance Art, Trauma Studies
- by Georg (Friedrich) Simet
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- Sociology, Anthropology, Philosophy, Communication
- by Margaret Litvin
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- Theatre Studies, Arabic Literature, Performance Studies, Drama