Discusses the documentation of the rehearsal process and the postmodern shift in interest from the reified art object to the dynamic processes involved in its production and reception. Compares the dilemma of the rehearsal recordist with that of the cultural anthropologist, and proposes the value of an ethnographic model in recognizing the difficulties that confront the involved observer.
Brown argues that truly intercultural theater is often found where western influences from Hollywood films or pop music have become part of the lived experience of eastern cultures. Western theater should explore the conventions that modulate the relationship between actors and audience.
Examines the theater in Turkey that continues to maintain an impressive vitality and variety, with state and municipal companies mounting regular sessions of foreign Turkish works, and experimental troupes challenging established theater forms as well as daring to broach some of the sensitive ideological conflicts in Istanbul. Mentions that swiftly changing demographics and competition from alternative entertainments, shifts in political policy in Istanbul are eroding the city's strong theater tradition. Discusses particular productions in the Turkish theater that have social and cultural implications, and comments on various forms of theatrical performance that have evolved in Turkey. Provides eight photographs.
An acknowledged feature of the late nineteenth-century reinvigoration of theatre is the frequency with which new styles of writing - and, more often, innovative themes -affronted the public, both in print and performance. Yet the turbulent initial audience reactions to taboo- and ground-breaking plays have often been represented as self-evident confrontations between progressive creative artists and philistine theatre goers.
Examines how different kinds of theater depend on being 'site-specific' in terms of the performers involved and in terms of the audience and its responses. Argues that truly intercultural theater is more often found where western influences have become part of the lived experience of eastern cultures. Suggests that rather than trying to embrace the substance of 'other' traditions, western theater might benefit from the exploration of conventions that modulate the relationship between actors and the audience, or the approach of the actor to different kinds of 'text.'
Examines a movement called the Orange Alternative. States that confronted with political opposition, an authoritarian regime predictably responds with forcebut also with recognition of a knowable enemy. Notes that confronted with anarchy and laughter, it can be caught wrong-footedas happened in Poland in the aftermath of Martial Law, when a young surrealist, Waldemar Fydrych, self-designated "Major," created what he called the Orange Alternative. Mentions in a series of published manifestoes and in the street happenings they proclaimed and recorded, the Orange Alternative was met with responses ranging from hostility to ostensible sympathy to simple bafflement. Records the progress of this movement and its moving spirit.
Examines the relevance of the "birdwoman" folk tale to the lives of the villagers in South Thailand and North Malaysia. Discusses the ritual dramatization of a story which for these villagers represents a crucial renewal of life in their yearly calendara celebration of the magic of feminine magical power. Focuses on the theatrical art form "Manora," which enshrines the "birdwoman" tale, and states that each performance also serves as a shamanic and healing ritual. Describes the magic associated with organization and continuation of "Manora" theatrical troupes. Briefly explores the powerful connection with W.B. Yeats's celebrated "birdwoman" play, "At the Hawk's Well." Includes eight photographs.
Modern Turkish theatre, benefiting from the support of the founder of the Turkish Republic, Mustapha Kemal Ataturk, has had a secular bent throughout its history. However, after the elections of 1994 and 1995, when Refah (Welfare) Party candidates espousing a distinctly religious agenda swept into power, dramatists have found themselves in an uneasy position, caught between corrupt secular politicians and a censorship-inclined military on the one hand, and Islamists hostile to theatre both in principle and as an unnecessary luxury on the other.
When is a widely-known fairy tale more than a story? Poh Sim Plowright recently went to South Thailand and North Malaysia to examine the relevance of the 'birdwoman' folk tale to the lives of the villagers in those two regions.
The appearance of a succession of controversial and attention-catching new playson the British stage in the 'nineties has led to considerable public discussion - and not a little ostensible outrage. In 'an interim report', Aleks Sierz examines the rash of plays about sex, drugs, and violence - notably Train spotting, Blasted, Mojo, and Shopping and Fucking - by twenty-something authors, and asks whether they have anything in common beyond a flamboyant theatricality and the desire to shock.
Considers wide range of Shakespearean productions and adaptations from varying Asian traditions, that suggest the fashionably derided 'universality' of Shakespeare may still tell an intercultural truth that transcends stylistic and chronological distinctions. Discusses adaptations of "Macbeth" and "King Lear" in Indian theater, "Macbeth," "Othello" and "Iago's Plot" in Japanese theater, and "Macbeth" and "Much Ado About Nothing" in Chinese theater. Concludes the reinvention of Shakespeare in Asian traditional theatrical forms seems effective, fruitful and promising.
Examines the particular case of audience resistance to a new drama, as represented in Gerhart Hauptmann's "Before Sunrise." Demonstrates the complex relationship between production and reception in the early modern theater. Considers the behavior of one of the offended spectators, along with the response of the independent theater society which staged the production, and the court's verdict on the validity of his protests. States that the premiere of "Before Sunrise" marked a period of increasingly experimental and bold productions, while paradoxically rendering audiences more restrained.