Theatre at the Crossroads of Culture
Book Details
Format
Hardback or Cased Book
ISBN-10
113815363X
ISBN-13
9781138153639
Publisher
Taylor & Francis Ltd
Imprint
Routledge
Country of Manufacture
GB
Country of Publication
GB
Publication Date
Aug 18th, 2016
Print length
228 Pages
Weight
453 grams
Product Classification:
Performance artTheatre studiesHumanitiesCultural studies
Ksh 29,500.00
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Pavis analyses the political and aesthetic consequences of cultures meeting at the crossroads of theatre, looking at productions including Brook's Mahabharata, Cixous/Mnouchkine's Indiande, and Barba's Faust.
Western culture has a long and fraught history of cultural appropriation, a history that has particular resonance within performance practice. Patrice Pavis asks what is at stake politically and aesthetically when cultures meet at the crossroads of theatre.?
A series of major recent productions are analysed, including Peter Brook''s Mahabharata, Cixous/Mnouchkine''s Indiande, and Barba''s Faust. These focus discussions on translation, appropriation, adaptation, cultural misunderstanding, and theatrical exploration. Never losing sight of the theatrical experience, Pavis confronts problems of colonialism, anthropology, and ethnography. This signals a radical movement away from the director and the word, towards the complex relationship between performance, performer, and spectator.
Despite the problematic politics of cultural exchange in the theatre, interculturalism is not a one-sided process. Using the metaphor of the hourglass to discuss the transfer between source and target culture, Pavis asks what happens when the hourglass is turned upside down, when the `foreign'' culture speaks for itself.
A series of major recent productions are analysed, including Peter Brook''s Mahabharata, Cixous/Mnouchkine''s Indiande, and Barba''s Faust. These focus discussions on translation, appropriation, adaptation, cultural misunderstanding, and theatrical exploration. Never losing sight of the theatrical experience, Pavis confronts problems of colonialism, anthropology, and ethnography. This signals a radical movement away from the director and the word, towards the complex relationship between performance, performer, and spectator.
Despite the problematic politics of cultural exchange in the theatre, interculturalism is not a one-sided process. Using the metaphor of the hourglass to discuss the transfer between source and target culture, Pavis asks what happens when the hourglass is turned upside down, when the `foreign'' culture speaks for itself.
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