“…The Third Wave (2011–present) is said to be:characterized by a proliferation of methodologies and theoretical approaches to the study of intercultural performance with an emphasis on minority‐led and/or Asian and/or non‐Western artists, projects, events, and experiences, and an even more pronounced focus on intercultural processes including but not limited to actor‐training and rehearsal process. (McIvor and Nakase, 2020, 239)…”
Section: Performance As Cross‐cultural Interventionmentioning
In commemoration of the quater‐centenary of William Shakespeare and Tang Xianzu in 2016, A Shakespearean Handan Dream, a Sino‐British theatrical co‐production, was staged in London, with Ke Jun and Leon Rubin as co‐directors. The play contains four acts of Tang’s Handan Meng (The Handan Dream), into which 12 Shakespearean episodes are inserted. Instead of merely representing cultural differences, the play is seen as an active performance event to shape the cross‐cultural aesthetic experiences of the audiences and their cosmopolitan visions. As an avant‐garde experiment, the play features a specific kind of “new interculturalism” in world theater, which challenges the existing modes of interpretation of intercultural theater. With reference to new developments in intercultural performance theory, this essay is concerned with the singularity of the intercultural performance, its social and political significance, and its contemporary relevance.
“…The Third Wave (2011–present) is said to be:characterized by a proliferation of methodologies and theoretical approaches to the study of intercultural performance with an emphasis on minority‐led and/or Asian and/or non‐Western artists, projects, events, and experiences, and an even more pronounced focus on intercultural processes including but not limited to actor‐training and rehearsal process. (McIvor and Nakase, 2020, 239)…”
Section: Performance As Cross‐cultural Interventionmentioning
In commemoration of the quater‐centenary of William Shakespeare and Tang Xianzu in 2016, A Shakespearean Handan Dream, a Sino‐British theatrical co‐production, was staged in London, with Ke Jun and Leon Rubin as co‐directors. The play contains four acts of Tang’s Handan Meng (The Handan Dream), into which 12 Shakespearean episodes are inserted. Instead of merely representing cultural differences, the play is seen as an active performance event to shape the cross‐cultural aesthetic experiences of the audiences and their cosmopolitan visions. As an avant‐garde experiment, the play features a specific kind of “new interculturalism” in world theater, which challenges the existing modes of interpretation of intercultural theater. With reference to new developments in intercultural performance theory, this essay is concerned with the singularity of the intercultural performance, its social and political significance, and its contemporary relevance.
In the past twenty-five years Ireland has experienced unprecedented diversification of its population. This led the Republic of Ireland to embrace a series of intercultural policies in the arts sector. The Northern Irish Arts Council also adopted intercultural arts policies, although the context in the North is defined by relations between Catholic/Republicans and Protestant/Loyalist communities in addition to the inclusion and integration of minority ethnic and/or migrant groups. This chapter presents the following three frameworks paired with relevant case studies for studying interculturalism in contemporary Irish theatre:
Interculturalism’s Irish Historical Legacies (Conall Morrison’s The Bacchae of Baghdad (After Euripides)).
Cross-Cultural Collaborative Relationships (Fabulous Beast Dance Theatre’s The Bull).
Contemporary Minority-led interculturalisms (Terra Nova Productions, Arrivals Project: Arrivals 1, Arrivals 2, Arrivals 3D: Mi Mundo).
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