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This book is the first edited collection to respond to an
undeniable resurgence of critical activity around the controversial
theoretical term 'interculturalism' in theatre and performance
studies. Long one of the field's most vigorously debated concepts,
intercultural performance has typically referred to the hybrid
mixture of performance forms from different cultures (typically
divided along an East-West or North-South axis) and its related
practices frequently charged with appropriation, exploitation or
ill-founded universalism. New critical approaches since the late
2000s and early 2010s instead reveal a plethora of localized,
grassroots, diasporic and historical approaches to the theory and
practice of intercultural performance which make available novel
critical and political possibilities for performance practitioners
and scholars. This collection consolidates and pushes forward
reflection on these recent shifts by offering case studies from
Asia, Africa, Australasia, Latin America, North America, and
Western Europe which debate the possibilities and limitations of
this theoretical turn towards a 'new' interculturalism.
This book investigates Ireland's translation of interculturalism as
social policy into aesthetic practice and situates the wider
implications of this 'new interculturalism' for theatre and
performance studies at large. Offering the first full-length,
post-1990s study of the effect of large-scale immigration and
interculturalism as social policy on Irish theatre and performance,
McIvor argues that inward-migration changes most of what can be
assumed about Irish theatre and performance and its relationship to
national identity. By using case studies that include theatre,
dance, photography, and activist actions, this book works through
major debates over aesthetic interculturalism in theatre and
performance studies post-1970s and analyses Irish social
interculturalism in a contemporary European social and cultural
policy context. Drawing together the work of professional and
community practitioners who frequently identify as both artists and
activists, Migration and Performance in Contemporary Ireland
proposes a new paradigm for the study of Irish theatre and
performance while contributing to the wider investigation of
migration and performance.
The Methuen Drama Handbook of Interculturalism and Performance
explores ground-breaking new directions and critical discourse in
the field of intercultural theatre and performance while surveying
key debates concerning interculturalism as an aesthetic and ethical
series of encounters in theatre and performance from the 1960s
onwards. The handbook's global coverage challenges understandings
of intercultural theatre and performance that continue to
prioritise case studies emerging primarily from the West and
executed by elite artists. By building on a growing field of
scholarship on intercultural theatre and performance that examines
minoritarian and grassroots work, the volume offers an alternative
and multi-vocal view of what interculturalism might offer as a
theoretical keyword to the future of theatre and performance
studies, while also contributing an energized reassessment of the
vociferous debates that have long accompanied its critical and
practical usage in a performance context. By exploring anew what
happens when interculturalism and performance intersect as embodied
practice, The Methuen Drama Handbook of Interculturalism and
Performance offers new perspectives on a seminal theoretical
concept still as useful as it is controversial. Featuring a series
of indispensable research tools, including a fully annotated
bibliography, this is the essential scholarly handbook for anyone
working in intercultural theatre and performance, and performance
studies.
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