Introduction: New Directions?

McIvor, Charlotte

doi:10.1007/978-3-030-02704-9_1

Cited by 8 publications

(4 citation statements)

References 22 publications

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“…In the last decade, alongside my own, several key and vital publications have positioned new modes of interculturalisms as minoritized subject-driven political and aesthetic movement in theater and dance sectors in the Global North (Knowles 2010; McIvor 2016; McIvor and King 2019; Lei and McIvor 2020). These collective voices have situated the central concerns of power and agency, reclaimed by minoritized artists from the ground up, as integral to the spirit of new interculturalisms, most strongly exemplified in the work on “scalar interculturalism” by Justine Nakase (2019).…”

Section: New Interculturalism Intersectionality and Inter-epistemic Knowledge Makingmentioning

confidence: 99%

Unmaking Contact: Choreographic Touch at the Intersections of Race, Caste, and Gender

Mitra¹

2021

Dance Res. J.

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This article interrogates “contact,” understood by Global North contemporary dance discourse as choreography that is mobilized by shifting points of physical touch between two or more bodies, by attending to inherent, and often ignored, power asymmetries that are foundational to such choreographic practices. This “unmaking of contact” is undertaken by deploying the lenses of race, caste, and gender in order to argue for an intersectional, intercultural and inter-epistemic understanding of “choreographic touch” that may or may not involve tactility. It starts by examining contact improvisation (CI), and its now ubiquitous choreographic manifestation of partnering, as an aesthetic that can work in colonizing ways on South Asian dancers who train in primarily solo classical dance forms. The article then moves on to place South Asian bodies, philosophies, and discourses at the heart of its interrogation of choreographic touch, and foregrounds the culturally specific politics and powers that govern them.

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Section: New Interculturalism Intersectionality and Inter-epistemic Knowledge Makingmentioning

confidence: 99%

Unmaking Contact: Choreographic Touch at the Intersections of Race, Caste, and Gender

Mitra¹

2021

Dance Res. J.

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“…Thus, the hybridity of performance cultures in A Shakespearean Handan Dream is not just representative of the status quo in many parts of the world; it is also instrumental in being instructive about what will come in the future. In this globalizing world, intercultural theater has an active role to play as an intervention into our culture and society, and it thus distinguishes itself from the previous paradigms of interculturalism in theater (see McIvor, 2019, 1–26). Studies in new interculturalism show that it is necessary to intersect interculturalism with other important issues, such as ethnicity, the refugee crisis, gender, war, and epidemic, as many of them have been the concerns of the intercultural performances by Jerzy Grotowski, Peter Brook, Ariane Mnouchkine, Eugenio Barba, and Richard Schechner.…”

Section: Performance As Cross‐cultural Interventionmentioning

confidence: 99%

“…In the process of the Sino‐British co‐production, the two performance cultures are kept intact, fostering an equal, dialogic, and mutually‐enriching relationship. Featuring a specific kind of “new interculturalism” (McIvor, 2019, 2), the performance became a huge success, as it generated lively discussions not just in transnational theatrical circles but also in the mass media in both countries.…”

Section: Introductionmentioning

confidence: 99%

Encountering Shakespeare in avant‐garde Kun opera

2021

Orbis Litterarum

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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.

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“…In the last decade, studies on intercultural theater and performance have witnessed the rise of “new interculturalism” (McIvor, 2019, 4), a paradigm emphasizing the perspective of the subaltern and local routes of intercultural interaction embedded in concrete material conditions of gender, race, and geography. Theater of new interculturalism complicates the West–East binary, leading scholars to distinguish it from “hegemonic intercultural theater” (HIT), a label assigned by Daphne Lei to intercultural theater works that combine “First World capital and brainpower with Third World raw material and labor, and Western classical texts with Eastern performance traditions” (Lei, 2011, 571).…”

Section: Introductionmentioning

confidence: 99%

Wu Hsing‐kuo’s Metamorphosis as postdramatic intercultural theater

Chang

2021

Orbis Litterarum

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Wu Hsing‐kuo and his Contemporary Legend Theater adapted Kafka’s seminal novella The Metamorphosis into an intercultural play named Metamorphosis in 2013. In light of the connections between Hans‐Thies Lehmann’s theory of postdramatic theater and new interculturalism in theater, where both emphasize rhizomatic structures to break down imperialist transcultural synthesis, this article explores an experimental mode of intercultural theater exemplified by Wu’s Metamorphosis. It argues that the play builds on the framework of postdramatic theater an intercultural rhizome embodying various routes of East–West interconnection embedded in concrete material conditions, which meets the demands of new interculturalism. Specifically, this article finds that the play’s postdramatic form benefits the intersections both inside and beyond theater among Eastern traditional art and philosophy, Western individualism and industrialized modernity, against the backdrop of Taiwan’s social and cultural circumstances. The postdramatic intercultural mode of performance in Metamorphosis points towards a possible direction for the future development of contemporary intercultural theater.

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Introduction: New Directions?

Cited by 8 publications

References 22 publications

Unmaking Contact: Choreographic Touch at the Intersections of Race, Caste, and Gender

Unmaking Contact: Choreographic Touch at the Intersections of Race, Caste, and Gender

Encountering Shakespeare in avant‐garde Kun opera

Wu Hsing‐kuo’s Metamorphosis as postdramatic intercultural theater

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