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"Is there a fundamental connection between New York's Elevator Repair Service's 9-hour production of The Great Gatsby and a Kathakali performance? How can we come to appreciate the slowness of Kabuki theatre as much as the pace of the Whatsapp theatre of post-Arab Spring Turkey? Can we go beyond our own culture's contemporary definition of a 'good play' and think about the theatre in a deep and pluralistic manner? Drawing on his extensive experience working with theatre artists, students and thinkers across the globe - up to and including an hour-long audience with the Dalai Lama - playwright Abhishek Majumdar considers why we make theatre and how we see it in different parts of the world. His own work has taken him from theatre in Japan to dance companies in the Phillippines, writers in Lebanon and Palestine, theatre groups in Burkina Faso, war-torn areas like Kashmir and North Eastern India, and to China and Tibet, Argentina and Mexico. Via a far-reaching and provocative collection of essays that is informed by this wealth of experience, Majumdar explores: - how different cultures conceive theatre and how the norm of one place is the experiment of another; - the ways in which theatre across the world mirrors its socio political and philosophical climate; - how, for thousands of years, theatre has been a tool to both disrupt and to heal; - and how, even within the many differences, there are universals from which we can all learn and how theatre does cross borders Of interest to theatre makers everywhere - be they writers, actors, directors or designers - this book offers an oversight, as well as interrogation, into the place of theatre in the world today"--

Theater and globalization --- Theater --- Intercultural communication in the performing arts

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This book examines applied theatre projects that bring together diverse groups and foster intercultural dialogue. Based on five case studies and informed by play theory, it argues that the playful elements of theatre processes nurture a unique intimacy among diverse people. However, this playful quality can also dampen explicit conversations about participants' cultural differences, and defer an interrogation of people's own entrenchment in systemic power imbalances. As a result, addressing these differences and imbalances in applied theatre contexts may require particular strategies. Elliot Leffler is Assistant Professor of Theatre and Performance at the University of Toronto in Canada. As an artist and a scholar, Elliot explores theatre-making as a context for intercultural, interfaith, and intergenerational dialogue. He has led theatre projects with white, black, and coloured South Africans, with Jews and Palestinians in Israel, with Kurdish and Arab Iraqis, with urban US high school students, and with racially-diverse houses of worship. His previous publications include articles in Research in Drama Education: The Journal of Applied Theatre Research, Theatre Research International, The Drama Review, Theatre Topics, and Contemporary Theatre Review. .

Polemology --- Mass communications --- Theatrical science --- performances (kunst) --- theater --- interculturele communicatie --- vrede --- Applied theater. --- Intercultural communication in the performing arts.

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Fritz Bennewitz (1926-1995) was the director-in-chief of East Germany's Weimar National Theatre. Extraordinary in his capacity for cultural and linguistic adjustment, he directed productions in twelve countries, always adapting shows to make them meaningful to local audiences. Notably, Bennewitz conducted stagings of Goethe's Faust in four different languages over a series of seven productions - three in pre-unification Weimar, one in the reunited Germany, and one each in New York, Manila, and Mumbai. The first comprehensive account of Bennewitz's remarkable career, Bennewitz, Goethe, Faust is also a pioneering study of intercultural interpretations of Faust. David G. John brings to light previously unknown archival materials - including annotated playbooks, correspondence, translations, videos, and reception information - as well as unpublished production photos from the stagings discussed in the book. Bennewitz, Goethe, Faust makes a cogent argument for this director's place alongside the twentieth century's greatest theatre innovators.

Theater --- Intercultural communication in the performing arts --- Theatrical producers and directors --- Performing arts --- History --- Bennewitz, Fritz, --- Goethe, Johann Wolfgang von, --- Criticism and interpretation.

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Intercultural communication in the performing arts. --- Multiculturalism in the theater. --- Music in the theater. --- Music --- Performing arts --- Sounds --- Theaters --- Social aspects. --- Anthropological aspects. --- Sound effects.

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Children's theater --- Intercultural communication in the performing arts --- Drama in education --- Theater and youth --- Intercultural communication in the performing arts. --- draamapedagogiikka. --- identiteetti. --- ilmaisu. --- kulttuurienvälisyys. --- monikulttuurisuus. --- nuoret. --- nuorisoteatterit. --- teatteri. --- Dramatische vorming. --- Interculturele vergelijking. --- Jongeren. --- Theses --- Draamapedagogiikka. --- Identiteetti. --- Ilmaisu. --- Kulttuurienvälisyys. --- Monikulttuurisuus. --- Nuoret. --- Nuorisoteatterit. --- Teatteri. --- Youth and theater --- Creative dramatics (Education) --- Theater in education --- Children's dramatics --- Children's plays --- Theater for children --- Theater for young people --- Young people's theater --- Presentation, etc. --- Youth --- Performing arts --- Education --- Theater --- Children's theater - Europe --- Intercultural communication in the performing arts - Europe --- Drama in education - Europe --- Theater and youth - Europe