By Cláudia Tatinge Nascimento
A subtle research of the way the intersection of procedure, reminiscence, and mind's eye tell performance, this book redirects the intercultural debate through focusing completely at the actor at paintings. along the views of other prominent intercultural actors, this learn attracts from unique interviews with Ang Gey Pin (formerly with the Workcenter of Jerzy Grotowski and Thomas Richards) and Roberta Carreri (Odin Teatret). by means of illuminating the hidden inventive techniques often unavailable to outsiders--the actor’s apprenticeship, education, personality improvement, and rehearsals--Nascimento both unearths how assumptions according to race or ethnicity are misguiding, hassle definitions of intra- and intercultural practices, and details how functionality analyses and claims of appropriation fail to think about the everlasting transformation of the actor’s identification that cultural transmission and embodiment represent.
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So there’s no talent hierarchy; we’re equal, but not identical” (“Equal, But Not Identical” 27). Mnouchkine’s statement clarifies how the company’s intentional disruption of the normalized structure of power between central/marginal cultures effectively serves as a source for creative exploration. Her perception is parallel with Brian Singleton’s explanation of power dynamics between source and target cultures in intercultural performance at large. In his “The Pursuit of Otherness for the Investigation of the Self” Singleton begins by defining intercultural performance as “a floating, unstable view of ‘global’ cultures not defi ned by nation-states” (93).
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