Intro; Acknowledgements; Praise for Interculturalism and Performance Now; Contents; Notes on Contributors; List of Figures; Chapter 1: Introduction: New Directions?; What's in a Name?; The Need for New Models of Interculturalism; New Interculturalism's Performative Becoming; New Interculturalism, Social Policy, and Racial/Ethnic Difference; Chapter Breakdown; Can Interculturalism Ever Really Be New?; Works Cited; Part I: New Interculturalism as Methodology; Chapter 2: From Scenarios to Networks: Performing the Intercultural in Colonial Mexico
Brett Bailey: Exhibit B Explicitly Taking on Colonial Histories of Subjugation and DisplayConclusion; Works Cited; Chapter 8: New Modernist Mediations and the Intercultural Theatre of Modern Times Stage Company; Soheil Parsa, Modern Times, and Western Modernists; Iranian Playwrights and Practices; Sufism; Conclusion; Works Cited; Part III: Intersectional Interculturalisms; Chapter 9: Censorship and Sensitivities: Performing Tolerance in Postsecular Britain; Migrancy and Performance: Théâtre du Soleil; Je suis Charlie; Behzti; Exhibit B; Mecca/Cairo; Works Cited
Cast of Characters: Mexico City, Martín Cortés, Alonso de Avila, and the EncomenderosReplacing the Viceroy's Body; Remapping Mexico City; Networking the Scenario; Objects and People: Masks, Flowers, Feathers, and Mugs; Toward a Prepositional Analysis of Intercultural Scenarios; Work Cited; Chapter 3: Routes and Routers of Interculturalism: Islands, Theatres and Shakespeares; Introduction: Globe to Globe, Island to Island; Past Routes and Routers of Intercultural Shakespeare in Colonial Asia; Shakespeare's Cargo: Tracing Movement; Routers 2.0; Conclusion: A Global Interculturalism?
Stalled Repatriation and Intercultural Performance in the MakingWorks Cited; Chapter 6: Interculturalism, Humanitarianism, Intervention: Théâtre du Soleil in Kabul; Introduction; Contexts: Interculturalism, Humanitarianism, Théâtre du Soleil; Actor Training and Moral Outrage; Human Risks and Theatrical Risks; Conclusion; Works Cited; Chapter 7: "Zones of Occult Instability": A South African Perspective on Negotiating Colonial Afterlives Through Intercultural Performance; Handspring Puppet Company: Engaging Theatrical Modernism to Readdress Circuits of Empire
Works CitedChapter 4: Rethinking Interculturalism Using Digital Tools; What Products Do Australian Festivals Import?; Interculturalism Twenty Years On; Gender; Cultural Diplomacy and Exports; Conclusion; Works Cited; Part II: Redirecting Intercultural Traffic; Chapter 5: Colonial Restitution and Indigenous Vessels of Intercultural Performance: The Stalled Repatriation of the Akwiten Grandfather Canoe; Intercultural Memory and Rituals of Restitution; "Indisputably Maliseet" Canoes; "Their Wretched Condition"; Archival Traces; Embodiments of Indigenous Knowledge; Vessel of Ancestry
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This book is the first edited collection to respond to an undeniable resurgence of critical activity around the controversial theoretical term 'interculturalism' 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 practices frequently charged with appropriation, exploitation or ill-founded universalism. New critical approaches since the late 2000s and early 2010s instead reveal a plethora of localized, grassroots, diasporic and historical approaches to the theory and practice of intercultural performance which make available novel critical and political possibilities for performance practitioners and scholars. This collection consolidates and pushes forward reflection on these recent shifts by offering case studies from Asia, Africa, Australasia, Latin America, North America, and Western Europe which debate the possibilities and limitations of this theoretical turn towards a 'new' interculturalism.