By Cláudia Tatinge Nascimento

A subtle research of ways the intersection of procedure, reminiscence, and mind's eye tell performance, this book redirects the intercultural debate by way of focusing completely at the actor at paintings. along the views of other prominent intercultural actors, this learn attracts from unique interviews with Ang Gey Pin (formerly with the Workcenter of Jerzy Grotowski and Thomas Richards) and Roberta Carreri (Odin Teatret). through illuminating the hidden inventive methods often unavailable to outsiders--the actor’s apprenticeship, education, personality improvement, and rehearsals--Nascimento both finds how assumptions in accordance with race or ethnicity are misguiding, difficulty definitions of intra- and intercultural practices, and details how functionality analyses and claims of appropriation fail to contemplate the everlasting transformation of the actor’s identification that cultural transmission and embodiment represent.

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To offer a specific example, during the summer at UC-Irvine I was never asked to bring to the work room cultural elements from my home country; instead, I worked closely with songs from the North American tradition. Moreover, I experienced Otherness in my work with texts and languages foreign to me. Though in no way a perfect model, to me the fact that the project did not take “full advantage” of the many ethnic backgrounds of its participants immediately excluded the possibility of cultural appropriation or blunt exoticism.

Clearly, much of the opposition to intercultural performance comes from the fact that the actor’s embodiment of culturally diverse performative elements disturbs normalized expectations of an overlap between race and cultural practice. But it is also no secret that, outside of the realm of the performing arts, culture is constantly changing, simultaneously informed by individual experiences as well as social movements. ’ to individuals presumably belonging to the same ‘people,’ the responses will be incredibly varied, especially if the matter is not at that moment in the political limelight” (71).

Essentialist notions of culture are also greatly responsible for the failure of multicultural funding policies in the United States, where the taboo of actually crossing cultural borders and the assignment of certain cultural practices to a given group has hindered or damaged cultural dialogue. Under the banner of promoting diversity, state-funded arts organizations pose guidelines for grant applications that defi ne for the artists what is considered to be “culturally valuable,” thus indirectly guiding how artistic companies can conceive of multicultural performance.

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