Toward a Topography of Cross-Cultural Theatre Praxis

Lo, Jacqueline; Gilbert, Helen

doi:10.1162/105420402320351468

Cited by 114 publications

(28 citation statements)

References 9 publications

(2 reference statements)

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“…This creative ability of material objects to ‘act upon and inform its [ sic ] transactions with human interpreters’ occurred through the layering of, and interaction between, different materialities (body to body, clothing to body) (Hoskins , 441). The resulting movement did not convey a simplistic interculturalism or hybridity, where culturally ‘different’ performances are naively combined (Lo and Gilbert ). Rather, the dancing body was framed by an interactive palimpsestual layering that shaped the expression of transnational cross‐cultural experience.…”

Section: Migratory Materialitiesmentioning

confidence: 99%

Material migrations of performance

Rogers

2017

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This paper examines the multiple materialities of the performing arts and their transnational migration. In contrast to the majority of scholarship on the geographies of performance, which focuses on the space of the body, this paper provides an analysis of performance and materiality that encompasses, but also extends beyond, the corporeal through its attention to the material qualities of costumes, scripts and performance form. In conducting this analysis, the paper draws attention to the differential movement of performance work more widely by focusing on their composite materialities. Such an approach extends our apprehension of what the geographies of performance, and the geographies of art more widely, might be, and draws attention to under‐investigated spheres of creative activity.

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Section: Migratory Materialitiesmentioning

confidence: 99%

Material migrations of performance

Rogers

2017

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“…1 In spite of its popularity, operetta has often been overlooked in the scholarly history of theatre, music and culture. Here I would like to reconsider operetta and especially Imre Kálmán's Die Csárdásfürstin (1915), from the point of view of intercultural theatre (Pavis 1996;Balme 1999Balme , 2005Knowles 2010) and/or cross-cultural theatre (Lo and Gilbert 2002). By following various links, routes and nodal points, I hope to offer some new perspectives for theatre history, based on the dialogue among the various formations of European and international theatre.…”

Section: All Translations Frommentioning

confidence: 99%

Operetta beyond borders: The different versions of Die Csárdásfürstin in Europe and the United States (1915–1921)

Imre

2013

Studies in Musical Theatre

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Imre Kálmán's operetta Die Csárdásfürstin premiered in Vienna in 1915 and was soon an international success. It appeared in Budapest as Csárdáskirályné (1916), in Moscow as Сuпьва (1917), in New York as The Riviera Girl (1917) and in London as The Gipsy Princess (1921). By considering its different stagings, this article focuses on the reciprocal ways whereby Western and Eastern Europeans interact, influence, react and respond to each other. Thus the aim of the article is to bring together the different formulations of European and international theatre to show the various networks, connections and relations among the different theatre traditions both within and outside Europe; and to set up a methodology of theatre historiography which goes beyond European orientation, the East/West divide and the image of the 'West' as a single and unified entity.

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“…4-5) which is seen as the cultural flows between the "source" and "target" cultures where a foreign or source culture passes from the upper bulb through the narrow neck of the glass and into the lower bulb of the target culture. This process is considered as a one-way communication (Lo and Gilbert, 2002;Daugherty, 2005).…”

Section: Collaborative Exchange In Theatrical Adaptation and Hybridismentioning

confidence: 99%

Likay Aka Oni Red Demon: Encounter and Exchange of Intercultural Performance

Sompiboon¹

2013

IAFOR J Lit Libriansh

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This paper investigates the possibilities of cultural exchange between a Japanese contemporary play and a Thai Likay performance. 1 This paper focuses on the process of inter-Asian cultural exchange between Thai and Japanese in terms of East-meets-East dialogue, cultural flows beyond the boundaries of two countries and cultural issues in the art of the theatre. Furthermore, it illustrates the process by which Pradit Prasatthong, 2 a Thai playwright, adapted Aka Oni, a Japanese play-script in his work after he had collaboratively worked with Hideki Noda 3 in the original version of Aka Oni in 1997. This paper also exposes Japanese audiences to Likay, a Thai traditional-popular theatre form. Prasatthong 4 , the director of Likay Aka Oni, a new version of Noda's play, has endeavoured to make a contribution to intercultural communication and to produce a performance that can be appreciated by both Thai and Japanese audiences.

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Toward a Topography of Cross-Cultural Theatre Praxis

Cited by 114 publications

References 9 publications

Material migrations of performance

Material migrations of performance

Operetta beyond borders: The different versions of Die Csárdásfürstin in Europe and the United States (1915–1921)

Likay Aka Oni Red Demon: Encounter and Exchange of Intercultural Performance

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