Download Crossing Cultural Borders Through the Actor’s Work: Foreign by Cláudia Tatinge Nascimento PDF

By Cláudia Tatinge Nascimento

A refined research of the way the intersection of approach, reminiscence, and mind's eye tell performance, this book redirects the intercultural debate via focusing completely 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). via illuminating the hidden inventive strategies often unavailable to outsiders--the actor’s apprenticeship, education, personality improvement, and rehearsals--Nascimento both finds how assumptions in response to race or ethnicity are misguiding, difficulty 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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Extra info for Crossing Cultural Borders Through the Actor’s Work: Foreign Bodies of Knowledge

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1 Moran considered The Book of the Dead (Second Avenue) to be a “meditation on death and using elements from the Egyptian Book of the Dead and The Tibetan Book of the Dead” Race, Culture, and the Myth of the Authentic 25 (in Kozinn). He described the multimedia piece, which opened at New York City’s Joseph Papp Public Theatre in November 2000, as an “attraction” (qtd. in Cox), saying that in this performance he was “trying to create Disneyland-type rides” (qtd. in Kozinn). The production used lighting effects to create a pseudo-spiritual feeling combined with short scenes evoking Macy’s television commercials (which, I assume, were a directorial attempt to bring together the ancient Egyptian text and New York spectators’ urban reality).

44–45) As intercultural performances continue to occupy a prime space in theatre-making today, a revision of the intercultural debate proves more than necessary. Whether we are scholars, artists, or just spectators interested in learning more about theatre today, the bottom line is that our daily-life experiences are inevitably permeated by foreignness and difference. I am sure that, whether consciously or not, whether willingly or not, each one of this book’s readers is a social actor engaged in continuous and complex negotiations in ever-changing heterogeneous societies.

The greater, crucial matter at hand here is to examine how borders are crossed, who does it, and why.

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