Western Theatre in Global Contexts explores the junctures, tensions, and discoveries that occur when teaching Western theatrical practices or directing English-language plays in countries that do not share Western theatre histories or in which English is the non-dominant language.
This edited volume examines pedagogical discoveries and teaching methods, how to produce specific plays and musicals, and how students who explore Western practices in non-Western places contribute to the art form. Offering on-the-ground perspectives of teaching and working outside of North American and Europe, the book analyzes the importance of paying attention to the local context when developing theatrical practice and education. It also explores how educators and artists who make deep connections in the local culture can facilitate ethical accessibility to Western models of performance for students, practitioners and audiences.
Western Theatre in Global Contexts is an excellent resource for scholars, artists, and teachers that are working abroad or on intercultural projects in theatre, education and the arts.
Table of Contents
Section 1: Global Flows: Western Theatre in International Contexts
1. An Introduction to Western Theatre in Global Contexts
Jillian Campana and Yasmine Jahanmir
2. Similarities and Differences in Teaching Western Based Theatre in China and the Arab World
Section 2: International Stages: Western Theatre in Performance
3. Lysistrata in Cairo: maintaining values while extending the limit
4. Laxmi Bai got Drunk at Malini’s Dinner and Venturewell became an Underwear Baron: JUDE productions of Western classics in Kolkata, India
5. West Side Stories: the racial politics and aesthetic considerations of staging Hell’s Kitchen globally
6. Across a Cloudy Room: the cultural appropriation of American musicals by Chinese students at the expense of their own national identity; a case study
Jim Mirrione and Wei Song
7. How to Swim in the Desert: on developing a theatre department in Oman
Section 3: Pedagogy Abroad: Western Theatre in Education
8. The Viewpoints as Transcultural Pedagogy
Adam Christopher Marple
9. The ISTA Performing Arts Academies in Shanghai and Hong Kong
Anne Drouet and Jillian Campana
10. Reaching the Audience
11. Collaborative Creations: teaching devised performance in Santiago, Chile
Section 4: Intercultural Exchanges: Theory and Practice
12. The Ethical Demand of Experiencing Imaginative Literature in Teaching Sophocles’ Antigone to Students of Applied English
13. Post/Colonial Theatre in Madagascar: hybridity and controversy in Jean-Luc Raharimanana’s Le Prophète et le Président
14. Towards "Relevance" and Collective Action in a South African School’s Touring production of Shakespeare’s Antony and Cleopatra: discovering the operations of Imperial Rome, Cleopatra’s power and the meaning of a crocodile
Sarah Roberts and Néka Da Costa
15. Intersections and Encounters: the meshwork of an international Australian/Jordanian puppet theatre collaboration
16. Conclusion: provocations for educators and practitioners
Jillian Campana and Yasmine Jahanmir
Jillian Campana is a Professor and Director of the Theatre program at the American University in Cairo, in Egypt. She has taught and devised new work across the United States, Europe and Asia and worked with Augusto Boal in both Brazil and the US. Campana has developed drama programs around the world including ones for military veterans, a Swedish brain injury rehabilitation center, and a shelter for victims of human trafficking in India.
Yasmine Marie Jahanmir is Assistant Professor in Theatre History, Literature, and Theory at the University of Nevada, Reno. She has recently taught and directed at the American University of Kuwait. Her research interests include nationalism in performance, gendered sport, Middle Eastern theatre, and performance pedagogy.