Dramaturgies of Interweaving explores present-day dramaturgies that interweave performance cultures in the fields of theater, performance, dance, and other arts. Merging strategies of audience engagement originating in different cultures, dramaturgies of interweaving are creative methods of theater and art-making that seek to address audiences across cultures, making them uniquely suitable for shaping people’s experiences of our entangled world. Presenting in-depth case studies from across the globe, spanning Australia, China, Germany, India, Iran, Japan, Singapore, Taiwan, Vietnam, the US, and the UK, this book investigates how dramaturgies of interweaving are conceived, applied, and received today. Featuring critical analyses by scholars—as well as workshop reports and artworks by renowned artists—this book examines dramaturgies of interweaving from multiple locations and perspectives, thus revealing their distinct complexities and immense potential. Ideal for scholars, students, and practitioners of theater, performance, dramaturgy, and devising, Dramaturgies of Interweaving opens up an innovative perspective on today’s breathtaking plurality of dramaturgical practices of interweaving in theater, performance, dance, and other arts, such as curation and landscape design.

This book argues that dramaturgy makes things visible and does so in two distinct and interrelating ways: creative processes and formal elements of performance are rendered visible and readable; and performance dramaturgy becomes an expanded practice in which performance is a locus for creating wide-ranging events and activities. This exploration defines dramaturgy as a perceptibly transforming agency in the construction, presentation and reception of contemporary performance; and it shows how contemporary performance has an intrinsic dramaturgical aspect whose proliferation of dramaturgical practices has led to a far-reaching reinvention of what contemporary theatre is. In doing so, this book deals with a careful selection of performance practices, including theatrical adaptations, new media dramaturgy, contemporary dance, installation-performance, postdramatic theatre, visionary works by auteurs, and revivals of well-known stage shows. This study will be of great interest to students and scholars in theater studies, performance studies, cultural studies, curating, and dance scholarship.

This book interrogates anew the phenomenon of tradition in a dialogical debate with a host of Western thinkers and critical minds. In contrast to the predominantly Western approaches, which look at traditions (Western and non-Western) from a predominantly (Western) modernist perspective, this book interrogates, from an intercultural perspective, the transnational and transcultural consecration, translation, (re)invention, and displacement of traditions (theatrical and cultural) in the aesthetic-political movement of twentieth-century theatre and performance, as exemplified in the case studies of this book. It looks at the question of traditions and modernities at the centre of this aesthetic-political space, as modernities interculturally evoke and are haunted by traditions, and as traditions are interculturally refracted, reconstituted, refunctioned, and reinvented. It also looks at the applicability of its intercultural perspective on tradition to the historical avant-garde in general, postmodern, postcolonial, and postdramatic theatre and performance and to the twentieth-century "classical" intercultural theatre and the twenty-first-century "new interculturalisms" in theatre and performance. To conclude, it looks at the future of tradition in the ecology of our globalized theatrum mundi and considers two important interrelated concepts, future tradition and intercultural tradition. This book will be of great interest to students and scholars in performance studies.

Entangled Performance Histories is the first book-length study that applies the concept of "entangled histories" as a new paradigm in the field of theater and performance historiography. "Entangled histories" denotes the interconnectedness of multiple histories that cannot be addressed within national frameworks. The concept refers to interconnected pasts, in which historical processes of contact and exchange between performance cultures affected all involved. Presenting case studies from across the world—spanning Africa, the Arab-speaking world, Asia, the Americas and Europe—the book’s contributors systematically expand, exemplify and examine the concept of "entangled histories," thus introducing various innovative concepts, theories and methodologies for investigating reciprocally consequential processes of interweaving performance cultures from the past. Bringing together examples of entanglements in theater and performance histories from a broad variety of geographical and historical backgrounds, the book’s contributions build together a broad basis for a possible and necessary paradigmatic shift in the field of theater and performance historiography. Ideal for researchers and students of history, theater, performance, drama and dance, this volume opens novel perspectives on the possibilities and challenges of investigating the entangled histories of theater and performance cultures on a global scale.

This volume investigates performances as situated "machineries of knowing" (Karin Knorr Cetina), exploring them as relational processes for, in and with which performers as well as spectators actively (re)generate diverse practices of knowing, knowledges and epistemologies. Performance cultures are distinct but interconnected environments of knowledge practice. Their characteristic features depend not least on historical as well as contemporary practices and processes of interweaving performance cultures. The book presents case studies from diverse locations around the globe, including Argentina, Canada, China, Greece, India, Poland, Singapore, and the United States. Authored by leading scholars in theater, performance and dance studies, its chapters probe not only what kinds of knowledges are (re)generated in performances, for example cultural, social, aesthetic and/or spiritual knowledges; the contributions investigate also how performers and spectators practice knowing (and not-knowing) in performances, paying particular attention to practices and processes of interweaving performance cultures and the ways in which they contribute to shaping performances as dynamic "machineries of knowing" today. Ideal for researchers, students and practitioners of theater, performance and dance, (Re)Generating Knowledges in Performance explores vital knowledge-serving functions of performance, investigating and emphasizing in particular the impact and potential of practices and processes of interweaving of performance cultures that enable performers and spectators to (re)generate crucial knowledges in increasingly diverse ways.

Investigating more than 70 key concepts relating to the performing arts in more than six non-European languages, this volume provides a groundbreaking research tool and one-of-a-kind reference source for theatre, performance and dance studies worldwide. The Companion features in-depth explorations of and expert introductions to a select number of performance-related key concepts in Arabic, Chinese, Japanese, Korean, Yorùbá as well as the Indian languages Sanskrit, Hindi and Tamil. Key concepts—such as Furǧa فرجة in Arabic, for example, or Jiadingxing 假定性 in Chinese, Gei 芸 in Japanese, Ìparadà in Yorùbá and Imyeon 이면 in Korean—that defy easy translation from one language to another (and especially into English as the world’s lingua franca) and that reflect culturally specific ways of thinking and talking about the performing arts are thoroughly examined in in-depth articles. Written by more than 60 distinguished scholars from around the globe, the articles describe in detail each concept’s dynamic history, its flexible scope of meaning and current range of usage. The Companion also includes extensive introductions to each language section, in which internationally renowned experts explain how the presented key concepts are situated within, and are constitutive of, distinct and dynamic epistemic systems that have different yet always interlinked histories and orientations. Offers a fascinating insight into the unique histories, characteristics, and orientations of linguistically and culturally distinct epistemic systems related to the performative arts Contains extensive cross-references and bibliographies An invaluable research tool and one-of-a-kind reference source for scholars and students worldwide and across the humanities, especially in the fields of theatre, performance, dance, translation, area and cultural studies An accessible handbook for everybody interested in performance cultures and performance-related knowledge systems existing in the world today. This volume provides an invaluable research tool and one-of-a-kind reference source for scholars and students worldwide and across the humanities, especially in the fields of theatre, performance, dance, translation and area studies, history (of science and the humanities) and cultural studies.

This book provides a novel way of looking at translational phenomena in contemporary performances of Attic tragedies via the formidable work of three directors, each of whom bears the aesthetic imprint of Samuel Beckett: Theodoros Terzopoulos, Şahika Tekand and Tadashi Suzuki. Through a discerningly transdisciplinary approach, translation becomes re(trans)formed into a mode of physical action, its mimetic nature reworked according to the individual directors’ responses to Attic tragedies. As such, the highly complex notion of mimesis comes into prominence as a thematic thread, divulging the specific ways in which the pathos epitomised in the works of Aeschylus, Sophocles and Euripides is reawakened on the contemporary stage. By employing mimesis as a conceptual motor under the overarching rubric of the art of tragic theatre, the monograph appeals to a wide range of scholarly readers and practitioners across the terrains of Translation Studies, Theatre Studies, Classical Reception, Comparative Literature and Beckett Studies.

This book investigates audience experience through the lens of sensory engagement in immersive, one-to-one performance. It presents a distinct, practice-based research (PBR) framework – a performance research ‘laboratory’ – designed to evaluate the effects on diverse audience experiences of two ‘sense-specific manipulations’: eye masks and touch. Through a qualitative analysis of responses from seventy-four individual audience participants, this book offers insight into how these popular ‘immersing’ strategies might be experienced. What do these strategies achieve? How do audience participants make sense of them? Do audience responses align with artistic intentions? And how does the PBR framework designed to address these questions influence the outcomes? Through an analysis of three sets of one-to-one performance experiments generating comparative data about the experience of sense-specific manipulation, this book proposes the utility of merging methodologies in artistic research with empirical audience research in theatre and performance studies. This study offers a new perspective on the value of sensory-focused, immersive, one-to-one experience as a means of resensitizing audience participants through performance.

Movements of Interweaving is a rich collection of essays exploring the concept of interweaving performance cultures in the realms of movement, dance, and corporeality. Focusing on dance performances as well as on scenarios of cultural movements on a global scale, it not only challenges the concept of intercultural dance performances, but through its innovative approach also calls attention to the specific qualities of "interweaving" as a form of movement itself. Divided into four sections, this volume features an international team of scholars together developing a new critical perspective on the cultural practices of movement, travel and migration in and beyond dance.