ABSTRACT

Western Theatre in Global Contexts explores the junctures, tensions, and discoveries that occur when teaching Western theatrical practices or directing English-language plays in countries that do not share Western theatre histories or in which English is the non-dominant language.

This edited volume examines pedagogical discoveries and teaching methods, how to produce specific plays and musicals, and how students who explore Western practices in non-Western places contribute to the art form. Offering on-the-ground perspectives of teaching and working outside of North American and Europe, the book analyzes the importance of paying attention to the local context when developing theatrical practice and education. It also explores how educators and artists who make deep connections in the local culture can facilitate ethical accessibility to Western models of performance for students, practitioners and audiences.

Western Theatre in Global Contexts is an excellent resource for scholars, artists, and teachers that are working abroad or on intercultural projects in theatre, education and the arts.

part 2|86 pages

International Stages

chapter Chapter 3|18 pages

Lysistrata in Cairo

Maintaining Values While Extending the Limit

chapter Chapter 4|14 pages

Laxmi Bai got Drunk at Malini’s Dinner and Venturewell Became an Underwear Baron

JUDE Productions of Western Classics in Kolkata, India

chapter Chapter 5|15 pages

West Side Stories

The Racial Politics and Aesthetic Considerations of Staging Hell’s Kitchen Globally

chapter Chapter 6|23 pages

Across a Cloudy Room

The Cultural Appropriation of Western Musicals by Chinese Students at the Expense of their own National Identity; A Case Study

chapter Chapter 7|14 pages

How to Swim in the Desert

On Developing Theatre in Oman

part 3|61 pages

Pedagogy Abroad

chapter Chapter 10|15 pages

Reaching the Audience

chapter Chapter 11|16 pages

Collaborative Creations

Teaching Devised Performance in Santiago, Chile

part 4|73 pages

Intercultural Exchanges

chapter Chapter 13|19 pages

Post/Colonial Theatre in Madagascar

Hybridity and Controversy in Jean-Luc Raharimanana’s Le Prophète et le Président

chapter Chapter 14|16 pages

Towards “Relevance” and Collective Action in a South African School’s Touring production of Shakespeare’s Antony and Cleopatra

Discovering the Operations of Imperial Rome, Cleopatra’s Power and the Meaning of a Crocodile

chapter Chapter 15|15 pages

Intersections and Encounters

The Meshwork of an International Australian/Jordanian Puppet Theatre Collaboration

chapter |5 pages

Conclusion

Provocations for Educators and Practitioners