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).

A detailed and extensive study, Peter Brook and the Mahabharata: Critical Perspectives provides a balanced view of this intercultural performance. Williams begins by contextualizing the production, explaining its history and how The Mahabharata became very visible when it toured internationally during the late eighties and was later adapted into a five- and a half-hour fi lm version (xi). 10 In 1974 the Centre found a permanent home at an abandoned theatre called Les Bouffes du Nord, France. Beginning in the late seventies, they focused on the stage adaptation of the Indian epic.

For the non-American actors in that group, the contact with these songs and texts opened the doors to meetings with many Others—actual and imaginary, living and dead. Our intercultural negotiations took place through practice in the work room, and we consistently alternated between drawing from our personal memories and crossing cultural borders into traditions and performative technique practices that were largely foreign to us. Figure 1 Cláudia Tatinge Nascimento in the solo performance Veredas: The Devil to Pay in the Backlands (1994), based on the novel by Brazilian writer João Guimarães Rosa.

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