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This volume documents the current scholarly and artistic practices surrounding comparison and globalisation in theatre in five geographic locations that imagine themselves as global centers of knowledge exchange.
Explores the notion of a heteroglobal approach to understand global circulation of performance. This approach starts with the local theoretical and philosophical frameworks from five imagined centres and then considers the knowledges about art and globalisation that emerge from a combination of these concepts. These “imagined centers”, each containing a rich array of discourses, are South Africa, the U.S. and U.K., China, Japan, and Nigeria.
By considering “comparison” and “intercultural theatre (to use culturally specific names for a range of pursuits) as practiced in each of these local contexts as they theorize the global, this volume advances a more globally-inflected approach to studying globalization through a theoretically pluralistic matrix of different modes of comparison and interculturalism.
1 Undefining Heteroglobalization and Theoretical Pluralism
Field Overviews
2 National, Global, Local, Planetary, Circulating, Transnational: Overview of Comparative Studies as Practiced in the United States and the United Kingdom
3 Interculturalism, Universality and Resistance: Debates over Intercultural Theatre in the West
4 Indexing: Finding the Japaneseness in Dialectics of Difference Without Distinction
5 Fidelity and Revolution: Modern Japanese Theatre
6 Harmonious Juxtaposition: South African Theories of Foldedness
7 South African Theatre Sans Adjective
8 Nativism, “Tigritude” and Syncretism: Nigerian Theories of and Against Hybridity
9 The Numinous, the Quotidian and Political Resistance: Nigerian Theatre and the World Stage
10 Sinocentric, Positional-Relationality: Chinese Theories of the World
11 The Popular, the People and the Political: Modern and Contemporary Chinese Theatre
Interlude
12 Waiting for the Heteroglobal, a Partial Definition in Juxtaposition in Magnet Theatre’s I Turned Away and She Was Gone
Philosophical and Theoretical Milieu(s)
Semiotics
13 Indexicality, Reality, Nation: Philosophies of Language in Japan
14 Process and Community: South African Semiotics
Modernity
15 Japanese Modernity as Fractured and Whole
16 National, Modern, Politically Real: The Divisive Core of Twentieth and Twenty-First Century Chinese Theatre
Subjectivity, the Self and the Actor
17 Conceptions of the Self: Hybrid Acting in Nigeria
18 Marxism, Intension and the Politics of the Group: Acting the Subject in China
A Festival
19 Heteroglobal Methods: A ManiFestival of Theatre and Performance