ABSTRACT
A university showing of Twelve Angry Men in Mumbai heavily promoted as bringing “realism to India,” a standing-room-only professional production of the American musical The 25th Annual Putnam County Spelling Bee in Bangkok, and a performance about Namibia’s environment following Frantic Assembly’s devising approach created in a school theatre festival; these are just a few examples of the types of theatre work being undertaken around the world that are rooted in Western techniques and philosophies. Non-Western theatre students, educators and artists often have an interest in the West in part because of what it represents: access. Of course European approaches to theatre and Western plays have great value and deserve to be appreciated all over the world. In recent years, there has been a resurgence of interest in interculturalism as a method of exploring our global world through theatre. Perhaps it is no longer helpful to think of an intercultural theatre, but rather a theatre that is inherently global.
