ABSTRACT
By analysing “In Sundry Languages” (Toronto, 2015), a collaboratively devised multilingual project with mono- and multilingual performers, this chapter explores both the theoretical underpinnings and the practical applications of stage multilingualism. A true multilingual dramaturgy does not use translation as its primary tool; thus, it has a potential to become a queer object (Sara Ahmed) disrupting the notion of expected continuous access to the linguistic meaning and forcing audiences to re-orientate themselves towards the presence of multiple languages onstage. This re-orientation can be perceived by both actors and audiences as a highly enjoyable process or as a violent intervention.
