Theatrical pillage in Asia: Redirecting the intercultural traffic

New Theatre Quarterly

Volumn 14, Issue 1, 1998, Pages 9-19

  Brown, John Russell ^a  

^a Columbia University ^*  (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 60950176908     PISSN: 0266464X     EISSN: None     Source Type: Journal    
DOI: 10.1017/s0266464x00011696     Document Type: Article

References (8)

1. This article is a development of an earlier one, 'Theatrical Tourism', published in Journal of Literature and Aesthetics (Kollam, Kerala, India, 1997), V, i, p. 19-30. The kind permission of the editor is acknowledged with grateful thanks.
2. Interview in Marie-Claire (April 1986), quoted in The Intercultural Performance Reader, ed. Patrice Pavis (London; New York: Routledge, 1996), p. 97;
3. and interview with Maria M. Delgado, in In Contact with the Gods? Directors Talk Theatre, ed. Maria M. Delgado and Paul Heritage (Manchester: Manchester University Press, 1996), p. 188.
4. There Are No Secrets: Thoughts on Acting and Theatre (London: Methuen, 1993), p. 22.
5. John Arden described the effect of a visit by a handful of academics to the Chhau dance-drama of Purulia in Bengal in To Present the Pretence: Essays on the Theatre and its Public (London; Methuen, 1977), p. 139-52.
6. Richard Schechner, The Future of Ritual: Writings on Culture and Performance (London: Routledge, 1993), p. 4-5.
7. 'Japanese Traces in Robert Wilson's Productions', The Intercultural Performance Reader, op. cit., p. 111. Visiting the Sopanam theatre company in Trivandrum, Kerala, in late 1995, the present writer met a young actor from Delhi who had spent a whole year learning the company's very active performance style, which is derived from local martial arts and Brahmin temple songs. This student could physically do all that was required of him when he was cast in one of the repertoire's plays, but had been unable to perform adequately in this assumed theatrical language - although the will to do so was strong, for he was seeking an alternative to the verbally-based styles that he had been taught previously and had found too limited.
8. Theatre at the Crossroads of Culture, trans. Loren Kruger (London; New York: Routledge, 1992), p. 202.