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Minority Theatre on the Global Stage - Challenging Paradigms from the Margins (Hardcover, Unabridged edition)
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Minority Theatre on the Global Stage - Challenging Paradigms from the Margins (Hardcover, Unabridged edition)
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All over the world, in the most varied contexts, contemporary
theatre is a rich source for increasing the visibility of
communities generally perceived by others as minorities, or those
who see themselves as such. Whether of a linguistic, ethnic,
political, social, cultural or sexual nature, the claims of
minorities enjoy a privileged medium in theatre. Perhaps it is
because theatre itself is linked to the notions of centre and
periphery, conformism and marginality, domination and subjugation -
notions that minority theatre constantly examines by staging them -
that it is so sensitive to the issues of troubled and conflicted
identity and able to give them a universal resonance.Among the
questions raised by this volume, is that of the relationship
between the particular and the more general aims of this type of
theatre. How is it possible to speak to everyone, or at least to
the majority, when one is representing the voice of the few? Beyond
such considerations, urgent critical examination of the function
and aims of minority theatre is needed. To what kind of public is
such drama addressed? Does it have an exemplary nature? How is it
possible to avoid the pitfalls and the dead end of ghettoization?
Certain types of audience-specific theatre are examined in this
context, as, for example, theatre as therapy, theatre as an
educational tool, and gay theatre. Particular attention is paid to
the claims of minorities within culturally and economically
dominant western countries.These are some of the avenues explored
by this volume which aims to answer fundamental questions such as:
What is minority theatre and why does theatre, a supposedly
bourgeois, if not to say elitist, art form, have such affinity with
the margins? What if, particularly in contemporary society, the
theatre as a form, were merely playing out its fundamentally
marginal status? The authors of these essays show how different
forms of minority theatre can challenge cultural consensus and
homogenization, while also aspiring to universality. They also
address the central question of the place and status of apparently
marginal forms of theatre in the context of globalization and in
doing so re-examine theatre itself as a genre. Not only do they
illustrate how minority theatre can challenge the dominant
paradigms that govern society, but they also suggest their own more
flexible and challenging frameworks for theatrical activity.
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