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Intercultural theatre


Intercultural theater, also known as cross-cultural theatre, may transcend time, while mixing and matching cultures or subcultures. Mixing and matching is the unavoidable process in the making of inner connections and the presentations of inter-culturalities. Majority of the works in the intercultural theatre is basically about thinking and doing around the themes, stories, pre-performative or performative concepts of Asian classical theatre or traditional performing arts forms & practices mixing and matching with the concepts or the ideas of foreign. After the well-known success production of Peter Brook's Mahabharata, the trend has been tremendously evolving around the globe and many governments cultural institutions directly interested to push the boundaries of inter-cultural sense and sensitivities by financially investing for new theatrical productions, university researches, conferences and fellowships

Intended audience will be from the same culture or a foreign audience with different cultures and the theater group or the actors or performers come from the same cultural background or a very diverse foreign cultural backgrounds. The production may imitate foreign styles, the production procedures may introduce new techniques, style of acting or style of presentations for a group of actors from various cultures or same culture, the production may included foreign languages, costumes, scenic themes and other aspects.There are many examples of intercultural theatre groups, people and institutions who are experimenting the various levels of mixing and matching of traditional or contemporary aspects of theatre training and presentations in this type of Imitational theatre. After the global acceptance of renowned theatre director Peter Brook, many theatre directors went after behind Asian traditional theatre art forms and other Asian representational systems to develop and portray the theatre presentations utilizing or somehow capitalizing the actor training systems and scenic representations from the particular Asian theatres such as Noh theatre, Kathakali, Chinese opera etc. While Peter Brook was succeeded in his approach of universally accepted vision of theatre making through the Asian theatre systems beyond the parameters of imitating different theatrical topics, many other recent institutions or directorial approaches are tightened within the parameters of imitations or comparisons or just exchanges of physical exercises.

There are two types of intercultural theatre within adapted theatre. One can consider "the norm" to represent what the audience of a certain culture expects/has typically been exposed to:

The aim of universal theatre is to be recognized and accepted by audience members from a wide range of cultural backgrounds (e.g. The Mahabharata, Peter Brook, Hiroshi Koike Bridge Project- The Mahabharata,Bari Hochwald The Global Theatre Project,The World Theatre Project, People's Theatre Project etc.)



  • For many theatre cultures, American intercultural theatre has given the possibilities of new exchanges, experiments, researches and pioneer introductions of model attempts in theatre making. There are many directors, teachers or theatre artists began working with the sources of American point of views in the intercultural attempts and some of them are Richard Schechner, Phillip Zarilli, Robert Wilson,Christian DuComb Phd, Prof.Esther Kim Lee, Ellen Stewart-La MaMa, Lee Breuer-Mabou Mines, Hugh Gittens, Anne Bogart, Phillip Glass etc.
  • English is the primary medium of communication in the intercultural theatre scene worldwide and American English or British English used as the mother source language to make all transactions related with theatre training, teaching and performing. Many non English countries are welcomed the English language as the official medium for the citizens and thus opened possibilities of any business. The culture is also part of business in the sense of in-coming and out-going, travelling or transforming stories, experiences, music, histories and philosophies. The dramatic theories and the acting coaching is mainly developed by the American or European masters of contemporary theatre. The non native English language speaking cultures supported the new experiences, exchanges, experiments to present the new shows.
  • Chinese Shakespeare
  • Chinese Greek Tragedy
  • Intercultural theatre criticism is a new term that presents a collection of critical research engagements, openings, discourses, quotations about Intercultural theatre and its productions, projects, people and places, which illustrate critically the necessities and the reputations.
  • Intercultural theatre director
  • Intercultural theatre scholars are the experts working with intercultural theatre creations for several years of practical and theoretical experiences in productions, teachings, performing arts etc.
  • Intercultural theatre critics are the experienced scholars who have many years of academic scholarships and direct relations with the each details of culture, civilization, practices. They are capable to inform, debate, talk, analyze and write about what commonly not presented or re-presented on the table.
  • Patrice Pavis French-UK theatre scholar,
  • Min Tian central academy of drama in Beijing, China
  • Rustom Bharucha Indian theatre critic, India
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