By Rustom Bharucha
During this passionate and debatable paintings, director and critic Rustom Bharucha offers the 1st significant critique of intercultural theatre from a 'Third international' standpoint. Bharucha questions the assumptions underlying the theatrical visions of a few of the 20th century's such a lot widespread theatre practitioners and theorists, together with Antonin Artaud, Jerzsy Grotowski, and Peter Brook. He contends that Indian theatre has been grossly mythologised and brought out of context via Western administrators and critics. And he provides an in depth dramaturgical research of what he describes as an intracultural theatre venture, delivering another imaginative and prescient of the probabilities of actual cultural pluralism. Theatre and the World bravely demanding situations a lot of ultra-modern 'multicultural' theatre flow. will probably be important studying for a person drawn to the construction or dialogue of a really non-Eurocentric global theatre.
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Additional info for Theatre and the World: Performance and the Politics of Culture
Also that Schechner has ‘rewritten’ the transcripts—the sentences flow with an almost unreal clarity and attention to grammatical detail. RS: When you played Sita were you possessed by her, or was it, ‘just a role’? Vyas: I get the feeling in my heart that I am Sita. It is written: Whoever is a true devotee becomes absorbed in God. When you’re absorbed you behave as COLLISION OF CULTURES 31 that person. If you cry it is real crying. When the actor believes ‘I am the character’, then he really cries.
And now, the new generation of artists wanted to ‘break up the Unity for the sake of the Variety’. , p. 91). This monolithic perspective of tradition seems to counter Craig’s own faith in the theatre of the Future. In his own visions of stage design and the art of the actor, he had broken new ground. But perhaps, we should also remember the preliminary manifesto of The Mask in which Craig had stated that, ‘The Theatre of the Future necessarily embraces all that has to do with the theatre of the past….
In Tairov’s words, it was the ‘great gulf 24 POINTS OF DEPARTURE that separated the ‘methods of the contemporary theatre from the hoary days of Krishna’, that enabled him to create his ‘new’ work of art (Tairov 1969, pp. 55– 62). In Grotowski’s Shakuntala at the Theatre of the Thirteen Rows, one senses the same sense of liberation resulting from the ‘distance’ of the text. In fact, this ‘distance was further highlighted by Grotowski through his parodic treatment of the text. In Tairov, there was no such impulse to subvert the text of its ‘religious aura of mystery’, which was apparently enhanced through the ‘scenic atmosphere’.
Theatre and the World: Performance and the Politics of Culture by Rustom Bharucha