* This collection builds a broad basis for a possible and necessary paradigmatic shift in the field of theater and performance historiography. * Would be recommended reading in for any undergraduate or master's level students studying theatre history, drama and dance. * The closest competitors do not explore the term 'entangled histories'. Therefore this collection breaks new ground by looking at this concept as a new paradigm in the field.

Dramaturgies of Interweaving explores present-day dramaturgies that interweave performance cultures in the fields of theater, performance, dance, and other arts. Merging strategies of audience engagement originating in different cultures, dramaturgies of interweaving are creative methods of theater and art-making that seek to address audiences across cultures, making them uniquely suitable for shaping people’s experiences of our entangled world. Presenting in-depth case studies from across the globe, spanning Australia, China, Germany, India, Iran, Japan, Singapore, Taiwan, Vietnam, the US, and the UK, this book investigates how dramaturgies of interweaving are conceived, applied, and received today. Featuring critical analyses by scholars—as well as workshop reports and artworks by renowned artists—this book examines dramaturgies of interweaving from multiple locations and perspectives, thus revealing their distinct complexities and immense potential. Ideal for scholars, students, and practitioners of theater, performance, dramaturgy, and devising, Dramaturgies of Interweaving opens up an innovative perspective on today’s breathtaking plurality of dramaturgical practices of interweaving in theater, performance, dance, and other arts, such as curation and landscape design.

• This book investigates performances as relational “machineries of knowing,” which are situated within—and actively contributing to the dynamic formation of—performance cultures as distinctive yet interconnected “epistemic cultures”.. • Would be recommended reading for researchers, students and practitioners of theater, performance and dance across the globe. • The closest competitors do not investigate performance cultures—in their global plurality and diversity—as distinctive environments of knowledge practice.

• This book investigates performance cultures as diverse cultures of doing, feeling and thinking that enable performance-makers and spectators to continuously (re)generate particular ways of knowing, knowledges and epistemologies. • Would be recommended reading for researchers, students and practitioners of theater, performance and dance across the globe. • The closest competitors do not investigate performance cultures—in their global plurality and diversity—as distinctive environments of knowledge practice.

• This book investigates performances as relational “machineries of knowing,” which are situated within—and actively contributing to the dynamic formation of—performance cultures as distinctive yet interconnected “epistemic cultures”.. • Would be recommended reading for researchers, students and practitioners of theater, performance and dance across the globe. • The closest competitors do not investigate performance cultures—in their global plurality and diversity—as distinctive environments of knowledge practice.

This volume investigates performance cultures as rich and dynamic environments of knowledge practice through which distinctive epistemologies are continuously (re)generated, cultivated, and celebrated. Epistemologies are dynamic formations of rules, tools, and procedures not only for understanding but also for doing knowledges. This volume deals in particular with epistemological challenges posed by practices and processes of interweaving performance cultures. These challenges arise in artistic and academic contexts because of hierarchies between epistemologies. European colonialism worked determinedly, violently, and often with devastating effects on instituting and sustaining a hegemony of modern Euro-American rules of knowing in many parts of the world. Therefore, Interweaving Epistemologies critically interrogates the (im)possibilities of interweaving epistemologies in artistic and academic contexts today. Writing from diverse geographical locations and knowledge cultures, the book's contributors-philosophers, political scientists as well as practitioners and scholars of theater, performance, and dance-investigate prevailing forms of epistemic ignorance and violence. They introduce key concepts and theories that enable critique of unequal power relations between epistemologies. Moreover, contributions explore historical cases of interweaving epistemologies and examine innovative present-day methods of working across and through epistemological divides in non-hegemonic, sustainable, creative, and critical ways. Ideal for practitioners, students and researchers of theater, performance, and dance as well as of philosophy and history (of science), Interweaving Epistemologies emphasizes the urgent need to acknowledge, study and promote epistemological plurality and diversity in practices of performance making as well as in scholarship on theater and performance around the globe today.

Theatrical Speech Acts: Performing Language explores the significance and impact of words in performance, probing how language functions in theatrical scenarios, what it can achieve under particular conditions, and what kinds of problems may arise as a result. Presenting case studies from around the globe-spanning Argentina, Egypt, Germany, India, Indonesia, Korea, Kenya, Nigeria, Rwanda, Thailand, the UK and the US-the authors explore key issues related to theatrical speech acts, such as (post)colonial language politics; histories, practices and theories of translation for/in performance; as well as practices and processes of embodiment. With scholars from different cultural and disciplinary backgrounds examining theatrical speech acts-their preconditions, their cultural and bodily dimensions as well as their manifold political effects-the book introduces readers to a crucial linguistic dimension of historical and contemporary processes of interweaving performance cultures. Ideal for drama, theater, performance, and translation scholars worldwide, Theatrical Speech Acts opens up a unique perspective on the transformative power of language in performance.

Dramaturgies of Interweaving explores present-day dramaturgies that interweave performance cultures in the fields of theater, performance, dance, and other arts. Merging strategies of audience engagement originating in different cultures, dramaturgies of interweaving are creative methods of theater and art-making that seek to address audiences across cultures, making them uniquely suitable for shaping people's experiences of our entangled world. Presenting in-depth case studies from across the globe, spanning Australia, China, Germany, India, Iran, Japan, Singapore, Taiwan, Vietnam, the US, and the UK, this book investigates how dramaturgies of interweaving are conceived, applied, and received today. Featuring critical analyses by scholars-as well as workshop reports and artworks by renowned artists-this book examines dramaturgies of interweaving from multiple locations and perspectives, thus revealing their distinct complexities and immense potential. Ideal for scholars, students, and practitioners of theater, performance, dramaturgy, and devising, Dramaturgies of Interweaving opens up an innovative perspective on today's breathtaking plurality of dramaturgical practices of interweaving in theater, performance, dance, and other arts, such as curation and landscape design.

This book provides a timely intervention in the fields of performance studies and theatre history, and to larger issues of global cultural exchange. The authors offer a provocative argument for rethinking the scholarly assessment of how diverse performative cultures interact, how they are interwoven, and how they are dependent upon each other. While the term 'intercultural theatre' as a concept points back to postcolonialism and its contradictions, The Politics of Interweaving Performance Cultures explores global developments in the performing arts that cannot adequately be explained and understood using postcolonial theory. The authors challenge the dichotomy 'the West and the rest' - where Western cultures are 'universal' and non-Western cultures are 'particular' - as well as ideas of national culture and cultural ownership. This volume uses international case studies to explore the politics of globalization, looking at new paternalistic forms of exchange and the new inequalities emerging from it. These case studies are guided by the principle that processes of interweaving performance cultures are, in fact, political processes. The authors explore the inextricability of the aesthetic and the political, whereby aesthetics cannot be perceived as opposite to the political; rather, the aesthetic is the political. Helen Gilbert's essay 'Let the Games Begin: Pageants, Protests, Indigeneity (1968-2010)'won the 2015 Marlis Thiersch Prize for best essay from the Australasian Drama, Theatre and Performance Studies Association.

* This collection builds a broad basis for a possible and necessary paradigmatic shift in the field of theater and performance historiography. * Would be recommended reading in for any undergraduate or master's level students studying theatre history, drama and dance. * The closest competitors do not explore the term 'entangled histories'. Therefore this collection breaks new ground by looking at this concept as a new paradigm in the field.

This book provides a timely intervention in the fields of performance studies and theatre history, and to larger issues of global cultural exchange. The authors offer a provocative argument for rethinking the scholarly assessment of how diverse performative cultures interact, how they are interwoven, and how they are dependent upon each other. While the term 'intercultural theatre' as a concept points back to postcolonialism and its contradictions, The Politics of Interweaving Performance Cultures explores global developments in the performing arts that cannot adequately be explained and understood using postcolonial theory. The authors challenge the dichotomy 'the West and the rest' - where Western cultures are 'universal' and non-Western cultures are 'particular' - as well as ideas of national culture and cultural ownership. This volume uses international case studies to explore the politics of globalization, looking at new paternalistic forms of exchange and the new inequalities emerging from it. These case studies are guided by the principle that processes of interweaving performance cultures are, in fact, political processes. The authors explore the inextricability of the aesthetic and the political, whereby aesthetics cannot be perceived as opposite to the political; rather, the aesthetic is the political. Helen Gilbert's essay 'Let the Games Begin: Pageants, Protests, Indigeneity (1968-2010)'won the 2015 Marlis Thiersch Prize for best essay from the Australasian Drama, Theatre and Performance Studies Association.

Theatrical Speech Acts: Performing Language explores the significance and impact of words in performance, probing how language functions in theatrical scenarios, what it can achieve under particular conditions, and what kinds of problems may arise as a result. Presenting case studies from around the globe-spanning Argentina, Egypt, Germany, India, Indonesia, Korea, Kenya, Nigeria, Rwanda, Thailand, the UK and the US-the authors explore key issues related to theatrical speech acts, such as (post)colonial language politics; histories, practices and theories of translation for/in performance; as well as practices and processes of embodiment. With scholars from different cultural and disciplinary backgrounds examining theatrical speech acts-their preconditions, their cultural and bodily dimensions as well as their manifold political effects-the book introduces readers to a crucial linguistic dimension of historical and contemporary processes of interweaving performance cultures. Ideal for drama, theater, performance, and translation scholars worldwide, Theatrical Speech Acts opens up a unique perspective on the transformative power of language in performance.