By Cláudia Tatinge Nascimento
A refined research of ways the intersection of method, reminiscence, and mind's eye tell performance, this book redirects the intercultural debate by means of focusing solely at the actor at paintings. along the views of other prominent intercultural actors, this research attracts from unique interviews with Ang Gey Pin (formerly with the Workcenter of Jerzy Grotowski and Thomas Richards) and Roberta Carreri (Odin Teatret). through illuminating the hidden artistic 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 contemplate the everlasting transformation of the actor’s identification that cultural transmission and embodiment represent.
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Extra info for Crossing Cultural Borders Through the Actor’s Work: Foreign Bodies of Knowledge
In many reviews, Brook’s own ethnicity—and not his particular staging choices or artistic competence—is what seemed to generate strong antagonistic reaction. Interestingly enough, when many years later Brook directed The Tempest, The Man Who, and Hamlet with Asian and African actors, critics did not react negatively. In the case of The Mahabharata, the ensemble of reviews collected in a special issue of the Asian Theatre Journal also brought forth the Race, Culture, and the Myth of the Authentic 35 insight of critics able to identify their own biases while watching the performance.
The question is, when do communities become frozen? When do they say that they will not change any more? I think that happens when they feel besieged, threatened, when no space is left for them to grow. (“Identities on Parade: A Conversation” 4) One of the consequences of obscuring the value of the actor’s ability to experiment with different practices within her intercultural environment is the narrowing of her creative possibilities to the performance of a single style. When rejecting what does not fit an actor’s racial or ethnic location, the spectator also reveals a shortsighted desire to remain in the comfort zone of already prescribed categories.
Transformed according to the different conditions of specific fields of reception” (283). Singleton describes Ariane Mnouchkine’s intercultural performances of Shakespeare’s Richard II and Aeschylus’ Les Atrides as good examples of the negation of a central or dominating culture. He considers that in her productions Mnouchkine is “far from feminizing the East” (95), stating that her artistically decentralizing stance differentiates the Théâtre du Soleil’s work from the kinds of performance that are based on cultural appropriation.