“Recognize My Face”: Phil Lynott, Scalar Interculturalism, and the Nested Figure

Nakase, Justine

doi:10.1007/978-3-030-02704-9_11

Cited by 3 publications

(1 citation statement)

References 24 publications

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“…Scholars from the field of 'new interculturalism', such as Charlotte McIvor, Ric Knowles, Royona Mitra and Justine Nakase (among others since the early Noughties), have demonstrated that, while racism and cultural imperialism undoubtedly inform or affect the production and reception of intercultural performances, subtler forms of intercultural exchange often occur when theatre is made by artists who are from hybrid backgrounds (McIvor;Knowles 2010;Knowles 2017;Mitra;Nakase). The above named scholars have been heeding Jen Harvie's call to find critical models to better understand 'intercultural encounters' in which it is 'difficult to specify a primary, let alone solitary, location of power, or where the "us" and "them", "self" and "other" exist within the same community and/or within the same person ' (12).…”

Section: New Interculturalism and Intercultural Performancementioning

confidence: 99%

The Transnational Roots of Key Figures from the Early Years of the Gate Theatre, Dublin

Clare

Morris²

2020

Cultural Convergence

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In Gate Theatre studies, the venue’s original artistic directors, Hilton Edwards and Micheál mac Liammóir, are commonly described as ‘Englishmen’. This chapter breaks new ground by exploring the Irish roots of Edwards and mac Liammóir, and the rumours that mac Liammóir had Spanish and Jewish ancestry. ‘The Boys’ were not the only figures associated with the early Gate to have transnational backgrounds. Coralie Carmichael, the theatre’s biggest female star in its early years, was of mixed Moroccan and Scottish ancestry, and Nancy Beckh, who worked as an actor, costume designer and milliner at the Gate between 1932 and 1956, was a Dubliner of half-German descent. Using critical theories around new interculturalism, the chapter suggests that the mixed backgrounds of these artists helped them to create intercultural performances. It further demonstrates that these performances cannot be simply dismissed as those of people condescendingly engaging in cultural imperialism or shallow cosmopolitanism.

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Section: New Interculturalism and Intercultural Performancementioning

confidence: 99%

The Transnational Roots of Key Figures from the Early Years of the Gate Theatre, Dublin

Clare

Morris²

2020

Cultural Convergence

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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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Casting Shakespeare Today

Della Gatta

2024

The Oxford Handbook of Shakespeare and Race

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This chapter expands widely-used casting categories such as ‘colour blind’ and ‘colour-concept’ from four categories (as quoted in Thompson) to nine categories. It also addresses the rationale for removing ‘colour’ as the primary focus of casting decisions and provides new terminology that shifts away from ableist language (such as problematic usage of ‘blind’). The chapter puts forward terms such as ‘Nondeliberate Identity Casting’ as ‘Identity Conscious Casting’ instead. Citing diverse artists and casting scholars throughout, this chapter is the culmination of more than a decade of research and practice in the theatre. The chapter closes with a critical analysis of the factors that inform questions of dramaturgy, ethics, authenticity, and positionality in casting practices. The new and expanded vocabulary about casting is necessary for a wider conversation about staging and the aesthetic considerations and ethical practices of theatre-making.

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“Recognize My Face”: Phil Lynott, Scalar Interculturalism, and the Nested Figure

Cited by 3 publications

References 24 publications

The Transnational Roots of Key Figures from the Early Years of the Gate Theatre, Dublin

The Transnational Roots of Key Figures from the Early Years of the Gate Theatre, Dublin

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

Casting Shakespeare Today

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