Titlebook: Interculturalism and Performance Now; New Directions? Charlotte McIvor,Jason King Book 2019 The Editor(s) (if applicable) and The Author(s)

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Julie Holledge,Sarah Thomasson,Joanne Tompkinsess, becoming, like Craig’s ‘stage director’, a master of all techniques: he is a powerful actor, a prolific inventor of stage images, a playwright of originality and complexity. Directing, for him, involves a mobilisation of all these skills in some degree and he has gone so far as to claim that th

混沌

Book 2019ulturalism’ in theatre and performance studies. Long one of the field’s most vigorously debated concepts, intercultural performance has typically referred to the hybrid mixture of performance forms from different cultures (typically divided along an East-West or North-South axis) and its related pra

玩笑

Harrowing

Playful Yellowness: Rescuing Interculturalism from Millennial Orientalismd negotiations about cultures, aesthetics, and powers, which are essential elements of intercultural theatre, playful yellowness as a form of Millennial Orientalism acts as a racial and cultural equalizer and poses a threat to intercultural performance.

輕彈

phlegm

From Scenarios to Networks: Performing the Intercultural in Colonial Mexicoinst Philip II. During the interrogations that followed, a masquerade organized by a young man named Alonso de Avila was used as evidence to incriminate him in the insurrection. Avila’s masquerade included 24 horsemen masked as Indians and was a reenactment of the first encounter between Hernán Cort

不在灌木叢中

初學者

Inflated

Colonial Restitution and Indigenous Vessels of Intercultural Performance: The Stalled Repatriation ot Nation in Fredericton, New Brunswick, that was taken to Ireland in the early nineteenth century and displayed in the Queen’s College (now National University of Ireland) museum from 1852. In 2007, the canoe was sent for restoration to the Canadian Museum of Civilization (now the Canadian Museum of

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Interculturalism, Humanitarianism, Intervention: Théatre du Soleil in Kabulke the Kabuki-inspired . (1981–1984) and the Kathakali . (1990–1992) cycles were central to “the interculture wars” of the 1980s. This chapter focuses on a smaller scale Théater du Soleil product, the documentary . (A sun in Kabul… or rather, two) (2007), which chronicles an intercultural theater wo