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THEATRE HISTORIES

BIBLIOGRAPHY PART IV: THEATRE AND PERFORMANCE IN THE AGE OF GLOBAL COMMUNICATIONS, 1970-2005 Listed first below are the key reference and additions for this Introduction and for Chapters 11, 12 and 13. KEY REFERENCES, WITH ADDITIONS ABERCROMBIE, NICHOLAS, and LONGHURST, BRIAN, Audiences: a sociological theory of performance and imagination (Thousand Oaks, Calif., 1998). APPADURAI, ARJUN, Modernity at Large, Cultural Dimensions of Globalization (Minneapolis, 1995). ASTON, ELAINE, An Introduction to Feminism and Theatre (London, 1995). BANHAM, MARTIN, ERROL HILL, and GEORGE WOODYARD (eds.), The Cambridge Guide to African and Caribbean Theatre (Cambridge and New York, 1994). BARBA, EUGENIO. The Paper Canoe: A Guide to Theatre Anthropology, trans. RICHARD FOWLER. (London and New York, 1995). — and NICOLA SAVARESE. A Dictionary of Theatre Anthropology: The Secret Art of

the Performer, Published for the Centre for Performance Research by Routledge, London, 1991.

BARISH, JONAS, The Antitheatrical Prejudice (Berkeley, 1981). BENNETT, SUSAN, Theatre Audiences: a theory of production and perception, 2nd edn. (New York, 1997). BERTENS, HANS, The Idea of the Postmodern: a History. (London and New York, 1995). BOBBITT, P., The Shield of Achilles, War, Peace, and the Course of History (New York, 2002). BOURDIEU, PIERRE, In Other Words: Essays Toward a Reflexive Sociology (Cambridge, U.K., 1990). BYAM, L. DALE, Community in Motion, Theatre for Development in Africa (Westport, Connecticut, and London, 1999). CASE, SUE-ELLEN, Feminism and the Theatre (New York, 1987). — and REINELT, JANELLE (eds.), The Performance of Power: theatrical discourse and politics (Iowa City, 1991). CHAUDHURI, UNA, Staging Place: the geography of modern drama (Ann Arbor, 1995). COLE, CATHERINE M., Ghana’s Concert Party Theatre (Bloomington, 2001).

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COPELAND, ROGER and COHEN, MARSHALL, What is Dance? (New York, 1983). CRANE, D., KAWASHIMA, N. and KAWASAKI, K. (eds), Global Culture, Media, Arts, Policy and Globalization (New York and London, 2002). DIAMOND, ELIN (ed.), Performance and Cultural Politics (London, 1996). DIMMICK, J.W., Media Competition and Coexistence, the Theory of the Niche

(Mahwah, N.J. and London, 2003). DOLAN, JILL, The Feminist Spectator as Critic (Ann Arbor, 1991). DURHAM, M.G. and KELLNER, D.M. (eds), Media and Cultural Studies, Keyworks

(Oxford, 2001). EPSKAMP, KEES P., Theatre in Search of Social Change (The Hague, 1989). FANON, F., The Wretched of the Earth, trans. Constance Farrington, preface by Jean-Paul Sartre (New York, 1968). FOEGE, A.V., Right of the Dial, the Rise and Fall of Clear Channel and the Fall of Commercial Radio (New York, 2008). FRIEDMAN, THOMAS L., The World is Flat, A Brief History of the Twenty-First Century (New York, 2005). GABEL, M. and BRUNNER, H., Global Inc.: An Atlas of the Multinational Corporation (New York, 2003). GARCIA CANCLINI, NÉSTOR, Hybrid Cultures, Strategies for Entering and Leaving Modernity, trans. CHRISTOPHER J. CHIAPPARI and SYLVIA LÓPEZ (Minneapolis, 1995). — Consumers and Citizens, Globalization and Multicultural Conflicts, trans. GEORGE YÚDICE (Minneapolis, 2001). GÓMEZ-PEÑA, GUILLERMO, The New World Border (San Francisco, 1996) ----Dangerous Border Crossers: the Artist Talks Back (London, 2000). GORMAN, LYN, AND DAVID MCLEAN, Media and Society in the Twentieth Century, a Historical Introduction (Oxford, 2003) GRAHAM-JONES, JEAN, Exorcising History: Argentine theater under dictatorship (Cranbury, New Jersey, 2000). GUILLERMOPREITO, ALMA, “’The Morning Quickie,’” New York Review of Books, 14 July 2004, 40-43. JENSEN, A.P., Theatre in a Media Culture, Production, Performance and Perception Since 1970 (Jefferson, N.C. and London, 2007). KAMLONGERA, CHRISTOPHER, Theatre for Development in Africa: with case studies from Malawi and Zambia (Bonn, 1989). KERR, DAVID, African Popular Theatre from Pre-colonial Times to the Present Day (London, 1995). KELLNER, DOUGLAS, Media Culture, Cultural Studies, Identity and Politics between the Modern and the Postmodern (London and New York: 1995). KERSHAW, BAZ, The Politics of Performance: Radical Theatre as Cultural Intervention (London, 1992). KRUGER, LOREN, The Drama of South Africa (London and New York, 1999). LEITER, S.(ed.), Encyclopedia of Asian Theatre, 2 vols. (Westport, CT and London, 2007). LULL, JAMES, Media, Communication, Culture, a Global Approach (New York, 1995). MOI, TORIL, Sexual/Textual Politics (London, 1985).

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NORDENSTRENG, KAARLE and HERBERT I. SCHILLER (eds.), Beyond National Sovereignty, International Communication in the 1990s (Norwood, NJ, 1993). OBEYESEKERE, RANJINI, Theater in a Time of Terror: satire in a permitted space (New Delhi, 1999). OGUNBA, OYIN, and IRELE, ABIOLA (eds.), Theatre in Africa (Ibadan, 1978). OGUNBIYI, YEMI, Drama and Theatre in Nigeria: a critical sourcebook (Lagos, 1981). OKPEWHO, ISODORE, African Oral Literature: backgrounds, character and continuity (Bloomington, Ind., 1992). SCHECHNER, RICHARD, Between Theatre and Anthropology (Philadelphia, 1985). —By Means of Performance (Cambridge, 1990). —Essays on Performance Theory (New York, 1977). —The Future of Ritual: writings on culture and performance (London, 1988). —Performance Studies: an introduction (London and New York, 2002, 2006). —Performance Theory (1977; New York, 1988). —Performative Circumstances from the Avant Garde to Ramlila (Calcutta, 1983). SCHOENMAKERS, HENRI (ed.), Performance Theory, Reception, and Audience Research (Amsterdam, 1992). SOYINKA, W., Interview with Wole Soyinka, Nobel Prize for Literature Laureate (1998). THIONG’O, NGUGI, Decolonizing the Mind (London, Portsmouth, Nairobi, Harare, 1986). --Penpoints, Gunpoints, and Dreams: the performance of literature and power in post- colonial Africa (New York, 1998). TUROW, J., Breaking Up America: Advertisers and the New Media World (Chicago, 1997). VALDEZ, L., I don’t Have to Show You No Stinking Badges and Other Plays, introduction by Horge Juerta (Houston, Texas, 1992). WEISS, JUDITH A., with LESLIE DAMASCENO (et al.), Latin American Popular Theatre: The First Five Centuries (Albuquerque, New Mexico, 1993). ZHUANG, JIAYUAN, “Not Yet Farewell, Postsocialist Performance and Visual Art in Urban China,” Ph.D. dissertation, University of California – Los Angeles. CHAPTER 11: RICH AND POOR THEATRES OF GLOBALIZATION KEY REFERENCES ADLER, STEVEN, On Broadway: Art and Commerce on the Great White Way (Urbana, 2004). BOON, RICHARD and PLASTOW, JANE (eds.), Theatre Matters: Performance and Culture on the World Stage (Cambridge, 1998). ERVEN, EUGENE VAN, Radical People’s Theatre (Bloomington, 1988). — The Playful Revolution: Theatre and Liberation in Asia (Bloomington, 1992). — Community Theatre: Global Perspectives (London, 2001). FILEWOD, ALAN and WATT, DAVID (2001) Workers’ Playtime: Studies in Theatre

and the Labour Movement in Australia, Canada, and the United Kingdom, 1970- 1997 (Sydney, 2001).

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FISCHER-LICHTE, ERIKA, The Show and the Gaze of Theatre: A European Perspective (Iowa City, IA, 1997). HAEDICKE, SUSAN and NELLHAUS, TOBIN (eds.), Performing

Democracy:International Perspectives on Urban Community-Based Performance (Ann Arbor, 2001).

KERSHAW, BAZ, The Politics of Performance: Radical Theatre as Cultural Intervention (London, 1992). KNOWLES, RIC, Reading the Material Theatre (Cambridge, 2004). — Shakespeare and Canada: Essays on Production, Translation, and Adaptation (Bruxelles, 2004). SOMMER, D. (ed.), Cultural Agency in the Americas (Durham, NC, 2006). UNDERINER, TAMARA, Contemporary Theatre in Mayan Mexico: Death-Defying Acts (Austin, 2004). WEISS, JUDITH A., with LESLIE DAMASCENO (et al.), Latin American Popular

Theatre: The First Five Centuries (Albuquerque, New Mexico, 1993). WILMER, S.E., Theatre, Society, and The Nation: Staging American Identities (Cambridge, 2002). ADDITIONAL REFERENCES AHMED, SYED JAMIL, Acin Pakhi Infinity: indigenous theatre of Bangladesh (Dhaka, 2000). ALBUQUERQUE, S., Violent Acts: a study of contemporary Latin American

theatre (Detroit, 1991). BOAL, AUGUSTO, Legislative Theatre (London, 1999). BORDMAN, GERALD, American Musical Comedy (New York, 1982). BRAUN,KAZIMIERZ, A History of Polish Theatre, 1939–1989 (Westport,

Connecticut. 1996). DE COSTA, ELENA, Collaborative Latin American Popular Theatre: from theory to form, from text to stage (New York, 1992). DUFF, CHARLES, The Lost Summer (London, 1995). DURHAM, WELDON, American Theatre Companies, 1931-1986 (Westport, CT., 1989). ENGLE, RON, and MILLER, TICE L. (eds.), The American Stage: social and

economic forces from the colonial period to the present (Cambridge, 1993). FLORES, RICHARD R., Los Pastores: History and Performance in the Mexican Shepherd’s Play of South Texas (Washington D.C., 1995). FUSCO, COCO (ed.), Corpus Delecti, Performance Art of the Americas (London, 2000). GEORGE, DAVID, Flash and Crash Days: Brazilian theater in the post- dictatorship period (New York, 1999). — The Modern Brazilian Stage (Austin, Texas, 1992). GHULAM-SARWAR, Yousof, Dictionary of Traditional Southeast Asian Theatre

(Oxford, 1994). — Panggung Semar: Aspects of Traditional Malay Theatre (Trumbull, 1995). GOKHALE, SHANTA, Playwright at the Centre: Marathi drama from 1843 to the

present (Calcutta, 2000).

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GRAHAM-JONES, JEAN, Exorcising History: Argentine theater under dictatorship (Cranbury, New Jersey, 2000). GRAHAM-WHITE, ANTHONY, The Drama of Black Africa (New York, 1974). GREEN, STANLEY, The World of Musical Comedy (New York, 1980). HENDERSON, MARY, The City and the Theatre (Clifton, New Jersey., 1973). —Theater in America (New York, 1986, 1996). HOLT, MARION P., The Contemporary Spanish Theatre: 1942-1972 (Boston,

1974). KINSER, SAMUEL, Carnival American Syle: Mardi Gras at New Orleans and Mobile (Chicago, 1990). KISLAN, RICHARD, The Musical (New York, 1999). LARSON, CATHERINE, and VARGAS, MARGARITA, Latin American Women

Dramatists: theater, texts, and theories (Bloomington, 1998). LUZIARAGA, GERARDO (ed.), Popular Theater for Social Change in Latin

America: essays in Spanish and English (Los Angeles, 1978). MARTIN, RANDY, Socialist Ensembles: theater and state in Cuba and Nicaragua (Minneapolis, 1994). SCHUTZMAN, M. and COHEN-CRUZ J. (eds.) Playing Boal: theatre, therapy, and

activism (London, 1994). TAYLOR, DIANA, Disappearing Acts: spectacles of gender arid nationalism in Argentina's dirty war (Raleigh, North Carolina,1997). — Theatre of Crisis: drama and politics in Latin America (Lexington, Kentucky, 1991). — and VILLEGAS, JUAN (eds.), Negotiating Performance: gender, sexuality,

and theatricalism in Latin/o America (Durham, 1994). VERSÉNYI, ADAM, Theatre in Latin America. Religion, politics, and culture from Cortés to the 1980s (Cambridge, 1993). CHAPTER 11: CASE STUDIES Case Study: THE VORTEX OF TIMES SQUARE INTERPRETIVE APPROACH: VORTICES OF BEHAVIOR KEY REFERENCES ATKINSON, B., Broadway (New York, 1974). BLOOM, KEN, Broadway (New York, 1991). CARLSON, M., Places of Performance: The Semiotics of Theatre Architecture (Ithaca and London, 1989). HARRIS, ANDREW B., Broadway Theatre (London, 1993). LEITER, SAMUEL L., The Encyclopedia of the New York Stage, 3 vols.

(Westport, Conn., 1985-92). ROACH, J., Cities of the Dead: Circum-Atlantic Performance (New York, 1996). SAGALYN, L.B., Times Square Roulette: Remaking the City Icon (Cambridge, MA, 2001) STEYN, MARK, Broadway Babies Say Goodnight (London, 2000). TAYLOR, W.R., Inventing Times Square: Commerce and Culture at the Crossroads of the World (New York, 1991).

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TRAUB, J., The Devil’s Playground: A Century of Pleasure and Profit in Times Square (New York, 2004). CHAPTER 12: DIRECTOR, TEXT, AND PERFORMANCE IN THE

POSTMODERN WORLD KEY REFERENCES ARISTOTLE, Poetics, trans. S.H. BUTCHER, in HAZARD ADAMS (ed.), Critical Theory Since Plato (New York, 1971). ARONSON, ARNOLD, American Avant-garde Theatre: a History (London and New York, 2000). ARTAUD, ANTONIN, The Theatre and Its Double, trans. MARY CAROLINE

RICHARDS, (New York, 1958). [Originally published in French in 1938]. AUSLANDER, PHILIP (1992), Presence and Resistance: postmodernism and cultural

poltics in contemporary American performance, (Ann Arbor, 1992). BERTENS, HANS, The Idea of the Postmodern: a History. (London and New York, 1995). BHARATA, Nātyásatra, trans. and ed. by MANMOHAN GHOSH, 2nd rev., (vol 1: Calcutta, 1967, vol. 2: Calcutta, 1961). BRADBY, DAVID, and DAVID WILLIAMS, Directors’ Theatre (London; Houndmills, Basingstroke, Hampshire, 1988). BROOK, PETER, The Empty Space (New York, 1968). CARLSON, M., Performance, a critical introduction (London and New York, 1996). ---- Theories of the Theatre, expanded edition (Ithaca and London, 1993). CARRUTHERS, IAN, and TAKAHASHI YASUNARI, The Theatre of Suzuki Tadashi (Cambridge, 2004). CONNOR, STEVEN, Postmodernist Culture: An Introduction to Theories of the Contemporary (Oxford and New York, 1989). DUNN, C.J. and TORIGOE BUNZÔ, trans., The Actors’ Analects (New York, 1969). EURIPIDES, The Bacchae, trans. William Arrowsmith, in Euripides V, the complete Greek Tragedies (eds) David Grene and Richard Lattimore (Chicago, 1959). FISCHER-LICHTE, ERIKA, “Between Text and Cultural Performance: Staging Greek Tragedies in Germany,” Theatre Survey 40:1, 1-29. GROTOWSKI, JERZY, Towards a Poor Theatre, EUGENIO BARBA (ed.) (New York, 1968 and 2002). HANDKE, P., The Hour WhenWe Knew Nothing of Each Other, trans. G. Honneger, Theater 1: 93-105, 1993.. KALB, J., Beckett in Performance (Cambridge and New York, 1989). KOTT, J., Shakespeare Our Contemporary, trans. B. Taborski (Garden City, N.Y., 1964). LYOTARD, J.-F., The Postmodern Condition: A Report on Knowledge (Minneapolis, 1984). ----The Postmodern Condition, A Report on Knowledge, trans. Geoff Bennington and Brian Massumi, forward by Fredric Jameson (Minneapolis, 1959). MACMULLEN, A., Theatre on Trial: Samuel Beckett’s Later Drama (New York,

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1993). MULRYNE, J.R., “The Perils and Profits of Interculturalism and the Theatre Art of Tadashi Suzuki,” in T. Sasayama, J.R. Mulryne and M. Shewring (eds) Shakespeare and the Japanese Stage (Cambridge, 1998). OPPENHEIM, L. (ed.), Directing Beckett, (Ann Arbor, 1994). ROACH, J. , “Kinship, Intelligence, and Memory as Improvisation: Culture and Performance in New Orleans,” in E. Diamond (ed.) Performance and Cultural Politics, (London and New York, 1996). ROUSE, J. ,“Textuality and Authority in Theater and Drama: Some Contemporary Possibilities,” in J.G. Reinelt and J.R. Roach (eds) Critical Theory and Performance (Ann Arbor, 1992). SENDA, A., The Voyage of Contemporary Japanese Theatre, trans. T. Rimer (Honolulu, 1997). SIMON, J., “Grotowski’s Grotesqueries,” in J. Simon, Singularities (New York, 1975). SORGENFREI, C.F., “Remembering and Forgetting: Greek Tragedy as National History in Postwar Japan,” in Staging Nationalism, Kiki Gounaridou (ed.) (Jefferson, N. C., 2005a) ---- Unspeakable Acts: The Avant-Garde Theatre of Terayama Shūji and Postwar Japan (Honolulu: 2005b) SUZUKI, T., The Way of Acting: The Theatre Writings of Tadashi Suzuki, trans. T.J. Rimer (New York, 1986). WEIMANN, R. , Shakespeare and the Popular Tradition in the Theatre: Studies in the Social Dimension of Dramatic Form and Function, trans. R. Schwartz (ed.) (Baltimore, 1978). WILLIAMS, G.J., Our Moonlight Revels: A Midsummer Night’s Dream in the Theatre (Iowa City, 1997). WORTHEN, W.B. , Shakespeare and the Force of Modern Performance (Cambridge, 2003). ZEAMI, M. (1984) On the Art of Nō Drama. The Major Treatises of Zeami, trans. J.T. Rimer and Y. Masakazu (Princeton, N.J, 1984). ADDITIONAL REFERENCES AUSLANDER, PHILIP, From Acting to Performance: essays in modernism and postmodernism (London, 1997). BABLET, DENIS, The Revolution in Stage Design in the Twentieth Century (Paris,

1977). BAKER, ROGER, Drag: a history of female impersonation in the performing arts (London, 1994). BANES, SALLY, Subversive Expectations: performance art and paratheater in New York, 1976-85 (Ann Arbor, 1998). —Terpsichore in Sneakers: post-modern dance (1980; Middletown, Conn., 1987). BILLINGTON, MICHAEL, One Night Stands (London, 1993). BIGSBY, C. W. E., A Critical Introduction to Twentieth-Century American

Drama, 3 vols. (Cambridge, 1982-5). BRECHT, STEFAN, The Theatre of Visions: Robert Wilson (Frankfurt am Main, 1978). BROOK, PETER, The Shifting Point, 1946–1987 (New York, 1987).

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BYRD HOFFMAN FOUNDATION, Robert Wilson: Theatre of Images. 2nd ed. (New York, 1984). CANNING, CHARLOTTE, Feminist Theaters in the USA: staging women’s experience

(London, 1996). CHAMBERS, COLIN (ed.), The Continuum Companion to Twentieth Century

Theatre (London, 2002). CHINOY, HELEN KRICH, and JENKINS, LINDA WALSH (eds.), Women in

American Theater (New York, 1983). CIXOUS, HÉLÉNE and CLÉMENT CATHERINE, The Newly Born Woman, trans. WING, B. (Manchester, 1986). CLUM, JOHN M., Still Acting Gay (New York, 2000). CRAIG, SANDY (ed.), Dreams and Deconstructions: alternative theatre in Britain (Ambergate, 1980). CROYDON, MARGARET, Lunatics, Lovers, and Poets: The Contemporary Experimental Theatre (New York, 1974). DAVY, KATE, Richard Foreman and the Ontological-Hysteric Theatre (Ann Arbor, 1981). DELGADO, MARIA M. and HERITAGE, PAUL (eds). In Contact with the Gods?

Directors talk theatre (Manchester, 1996). DONKIN, ELLEN and CLEMENT, SUSAN (eds.), Upstaging Big Daddy: directing theater as if gender and race matter (Ann Arbor, 1993). DUERR, EDWIN, The Length and Depth of Acting (New York, 1962). EVANS, JAMES ROOSE, Experimental Theatre from Stanislavsky to Peter Brook 4th ed. (London and New York, 1989). FERRIS, LESLEY (ed.), Crossing the Stage: controversies on cross dressing (London,

1993). FOREMAN, RICHARD, Plays and Manifestos, KATE. DAVY (ed.) (New York, 1976). --Theatre of Images, edited with a new afterword by BONNIE MARRANCA (Baltimore, 1996). FREEMAN, SANDRA, Putting your Daughters on the Stage: lesbian theatre from the 1970s to the 1990s (London, 1997). FUCHS, ELINOR, The Death of Character: Perspectives on theatre after modernism (Bloomington, Indiana, 1996). GOLDBERG, ROSELEE, Performance Art: from futurism to the present, rev. edn. (New York, 2001). GÓMEZ-PEÑA, GUILLERMO, “The New Global Culture.” TDR: The Drama Review 45, 1: 7-30. GOODMAN, LIZBETH, Contemporary Feminist Theatre: to each her own (London,

1993). —The Gender Reader (London, 1999). HARRIS, GERALDINE, Staging Femininities: performance and performativity

(London, 1999). HART, LINDA, and PHELAN, PEGGY (eds.), Acting Out: feminist performances

(Ann Arbor, 1993). HAY, SAMUEL A., African American Theatre: a historical and critical analysis

(Cambridge, 1994).

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HILL, ERROL (ed.), The Theatre of Black Americans, 2 vols. (Englewood Cliffs, NJ, 1980).

HIRSCH, FOSTER, A Method to their Madness: the history of the Actor's Studio (New York, 1984). HODGE, ALISON (ed.), Twentieth Century Actor Training (London, 2000). HUXLEY, MIKE, and WITTS, NOEL (eds.), Twentieth Century Performance Reader

(New York, 1996). JAMESON, FREDRIC, Postmodernism, or the Cultural Logic of Late Capitalism (Durham, 1991). KUMIEGA, JENNIFER, The Theatre of Grotowski (London, 1985). LYOTARD, JEAN-FRANÇOIS, The Postmodern Condition: A Report on Knowledge,

trans. GEOFF BENNINGTON and BRIAN MASSUMI, (Minneapolis, 1984). LEITER, SAMUEL L., Great Stage Directors, 100 Distinguished Careers of the Theatre (New York, 1994). MAMET, DAVID, Oleanna (New York, 1992). [A 1995 film version of the play,

directed by DAVID MAMET and produced by the SAMUEL GOLDWYN COMPANY, is available on a video recording by Hallmark House, Los Angeles.]

MARRA, KIM, and SCHANKE, ROBERT A. (eds.) Staging Desire: queer readings of American theater history (Ann Arbor, 2002). MARTIN, CAROL, (ed.), A Sourcebook of Feminist Performance: on and beyond the stage (London, 1996). OIDA, YOSHI, with LORNA MARSHALL, An Actor Adrift (London, 1992). REMSHARDT, RALF ERIK, “Dionysus in Deutschland: Nietzche, Grüber, and The Bacchae,” Theatre Survey 40:1, 30-49. RISCHBIETER, HENNING, and STORCH, WOLFGANG, Art and Stage Design in

the 20th Century: painters and sculptors work for the theatre (Greenwich, Conn., 1968).

RUBIN, DON, et al. (eds.), The World Encyclopedia of Contemporary Theatre, 5 vols. (London, 1994-8).

SAUNDERSON, MICHAEL, From Irving to Olivier: a social history of the acting profession, 1880-1983 (New York, 1985). SAVRAN, DAVID, Wooster Group: Breaking the Rules (Ann Arbor, 1988). SCHIMMEL, PAUL (ed.), Out of Actions: performance and the object, 1949-1979 (Los

Angeles, 1998). SHANK, THEODORE, American Alternative Theatre (New York, 1982). SINFELD, ALAN, Out on Stage (London, 1999). SOYINKA, WOLE, Art, Dialogue and Outrage: essays on literature and culture

(Ibadan, 1988). —Myth, Literature, and the African World (Cambridge, 1976). —Six Plays [Includes, in English, Death and the King’s Horseman, Madmen and Specialists, and Opera Wonyosi.] (London, 1984). VAN ERVAN, E., Radical People’s Theatre (Bloomington, Indiana., 1988). WHITTON, DAVID, Stage Directors in Modern France (Manchester, 1987). WILSON, ROBERT, The Theatre of Images (New York, 1984). WOLFORD, LISA and RICHARD SCHECHNER, The Grotowski Sourcebook (New

York, 1997).

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ZARRILLI, PHILLIP B. (ed.), Acting (Re)Considered: theories and practices (London, 1995).

CHAPTER 12: CASE STUDIES CASE STUDY: THE CRISIS OF REPRESENTATION AND THE AUTHENTICITY OF PERFORMANCE: ANTONIN ARTAUD AND JACQUES DERRIDA INTERPRETIVE APPROACH: DECONSTRUCTION KEY REFERENCES ARTAUD, ANTONIN, Collected Works, trans. VICTOR CORTI, 4 vols, (London, 1964). —Ouevres complete, Rev. ed., PAULE THÉVENIN, ed., 25 vols. (Paris, 1976). —Theatre and its Double, trans. MARY CAROLINE RICHARDS (New York,

1958). BELSEY, CATHERINE, Critical Practice (London and New York, 1980). BARBER, STEPHEN, Antonin Artaud, Blows and Bombs (London and Boston, 1993). —The Screaming Body (London, 1999). BLAU, HERBERT, “Universals of Performance; or, Amortizing Play,” Sub-stance 37-38. CARLSON, MARVIN, Theories of the Theatre, A Historical and Critical Survey, from

the Greeks to the Present, expanded ed., (Ithaca and London, 1993). CASE, SUE-ELLEN, “The Eurocolonial Reception of Sanskrit Poetrics,” in SUE-

ELLEN CASE and JANELLE REINELT (eds.)The Performance of Power, Theatrical Discourse and Politics (Iowa City, 1991).

DERRIDA, JACQUES, Writing and Difference, trans., ALAN BASS (Chicago, 1978). [Contains two essays on Artaud cited here, “The Theater of Cruelty and the Closure of Representation,” and “La Parole Soufflé.”

— “Structure, Sign and Play in the Discourse of the Human Sciences” in Critical Theory Since1965, eds. HAZARD ADAMS and LEROY SEARLE (Tallahassee, 1966).

ESSLIN, MARTIN, Antonin Artaud: The Man and His Work [Originally published 1976] (London, 1999). GOODALL, JANE, Artaud and the Gnostic Drama (Oxford, 1994). SAID, EDWARD, Orientalism (New York, 1979). SONTAG, SUSAN (ed.), Antonin Artaud, Selected Writings (New York, 1976). TYSON, LOIS, Critical Theory Today, a User-Friendly Guide (New York and London, 1999). Case Study: GLOBAL SHAKESPEARE INTERPRETIVE APPROACH: POSTCOLONIAL CRITICISM KEY REFERENCES, WITH ADDITIONS ALEXANDER, CAROLINE, Interview with PETER BROOK, in Timon d’Athènes,

adaptation française de JEAN-CLAUDE CARRIERE (Paris, 1974).

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ANZI, TETSUO, “Directing King Lear in Japanese Translation,” in TAKASHI SASAYAMA, J. R MULRYNE, and MARGARET SHEWRING (eds.), Shakespeare and the Japanese Stage (Cambridge, 1989).

ASHCROFT, BILL, et al., The Empire Writes Back: theory and practice in post- colonial literatures (London, 1989).

BALME, CHRISTOPHER, Decolonizing the Stage: theatrical syncretism and post- colonial drama (Oxford, 1999). BEAUMAN, SALLY, The Royal Shakespeare Company: a history of ten decades

(Oxford, 1982). BHABHA, HOMI, The Location of Culture (New York and London, 1994). BHATIA, NANDI, Acts of Authority/Acts of Resistance, Theatre and Politics in Colonial

and Postcolonial India (Ann Arbor, 2004). BOOSE, LYNDA E and BURT, RICHARD (eds.) Shakespeare the Movie; popularizing

the plays on film, tv, and video (New York and London 1997). BRANDON, JAMES R., “Shakespeare in Kabuki,” in MINAMI RUTUA,

IANCARRUTHERS, and JOHN GILLIES (eds)., Performing Shakespeare in Japan (Cambridge, 2001).

BRISTOL, MICHAEL, Big-Time Shakespeare (London and New York, 1996). BRISTOL, MICHAEL, KATHLEEN McLUSKIE, and CHRISTOPHER HOLMES, ed.,

Shakespeare and Modern Theatre, the Performance of Modernity (New York and London: 2001).

BROWN, JOHN RUSSELL, New Sites for Shakespeare, Theatre, the Audience and Asia (London and New York, 1999). BROWN, PAUL, “’This thing of darkness I acknowledge mine’: The Tempest and the

Discourse of Colonialism,” in JONATHAN DOLLIMORE and ALAN SINFIELD (eds.), Political Shakespeare (Ithaca and London, 1985).

BULMAN, JAMES C., ed., Shakespeare, Theory, and Performance (London and New York, 1996). CÉSAIRE, AIMÉ (2002). A Tempest. Based on Shakespeare’s The Tempest, an

adaptation for a black theatre, trans. RICHARD MILLER (New York, 2002). COHEN, WALTER, Drama of a Nation: Public Theater in England and Spain (Ithaca,

N. Y., 1985) DAWSON, ANTHONY B., Shakespeare in Performance: Hamlet (Manchester and New

York, 1995). ETHERTON, MICHAEL The Development of African Drama (London, 1982). GIBIŃSKA, MARTA, and JERZY LIMON, Hamlet East-West (Gdansk, 1998). GILBERT, HELEN, and TOMPKINS J., Post-colonial Drama: theory, practice, politics (London, 1996). GASKELL, PHILIP, From Writer to Reader: Studies in Editorial Method (Oxford,

1978). GOLDBERG, JONATHAN, Tempest in the Caribbean (Minneapolis and London, 2004). GOLUB, SPENCER, “Between the Curtain and the Grave: the Taganka in the Hamlet

gulag,” in DENNIS KENNEDY (ed.) Foreign Shakespeare (Cambridge, 1993). GRADY, HUGH (ed). Shakespeare and Modernity: early modern to millennium

(London, 2000).

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HAMBURGER, MAIK, “Shakespeare on the Stages of the German Democratic Republic,” in WILHELM HORTMANN, Shakespeare on the German Stage, the Twentieth Century (Cambridge, 1998).

HARNER, JAMES L. (ed.), World Shakespeare Bibliography. [An annual bibliography including coverage of Shakespeare in theatre and film]. HIRST, DAVID L., Giorgio Strehler (New York and Cambridge, 1993). —The Tempest. (Houndmills, Basingstroke, Hampshire, 1984). HOGDON, BARBARA, “William Shakespeare’s Romeo + Juliet: Everything’s Nice in America?” Shakespeare Survey 52 (1999), 89-98. HORTMANN, W. Shakespeare on the German Stage, the Twentieth Century (Cambridge (1998) HUNTER, MARTIN, Romancing the Bard: Stratford at fifty (Toronto, 2001). JACKSON, RUSSELL (ed.), The Cambridge Companion to Shakespeare on Film

(Cambridge, 2000). KENNEDY, DENNIS, Looking at Shakespeare: a visual history of twentieth-century

performance, 2nd edn. (Cambridge, 2001). — (ed.) Foreign Shakespeare (Cambridge, 1993). — “Shakespeare and the Global Spectator,” Shakspeare Jahrbuch 131 (1995), 51-64. KIERNANDER, ADRIAN, Ariane Mnouchkine and the Thèâtre du Soleil (Cambridge,

1993). KLEBER, PIA, “Theatrical Continuities in Giorgio Strehler’s The Tempest,” in Foreign

Shakespeare, DENNIS KENNEDY (ed.), (Cambridge, 1993). KOTT, JAN, Shakespeare Our Contemporary, trans. BOLESLAW TABORSKI (New

York, 1966). LEHMANN, COURTNEY, Shakespeare Remains, Theatre to Film, Early to Postmodern (Ithaca and London, 2002). MACALOON, JOHN J. This Great Symbol: Pierre De Coubertin and the Origins of the Modern Olympic Games (Chicago, 1981). MILLON, MARTINE, “Peter Brook: le sens d’une recherché,” interview with PETER BROOK in Travail Thèâtral 18-19 (1975). MÜLLER, HEINER, Hamletmachine and Other Texts for the Stage. trans. CARL

WEBER (ed.), (New York, 1984). MULRYNE, J. R., “The Perils and Profits of Interculturalism and the Theatre Art of

Tadashi Suzuki,” in TAKASHI SASAYAMA, J. R MULRYNE, and MARGARET SHEWRING (eds.), Shakespeare and the Japanese Stage (Cambridge, 1998).

PAVIS, PATRICE, Theatre at the Crossroads of Culture, trans. LOREN KRUGER, (London and New York, 1992).

ROTHWELL, KENNETH S., A History of Shakespeare on Screen (Cambridge, 1999). ROWE, ELEANOR, Hamlet: a Window on Russia (New York, 1976). SAID, EDWARD, Orientalism (New York, 1978). SASAYAMA, TAKAHASHI, J. R MULRYNE, and Margaret Shewring (eds.),

Shakespeare and the Japanese Stage (Cambridge, 1998). SENDA, AKIHIKO, “The Rebirth of Shakespeare in Japan,” in TAKASHI

SASAYAMA, J. R MULRYNE, and MARGARET SHEWRING (eds.), Shakespeare and the Japanese Stage (Cambridge, 1998a).

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—Entry on Japan, The World Encyclopedia of Contemporary Theatre, Vol 5: Asia/Pacific (London and New York, 1998b).

SHAKESPEARE, WILLIAM, The Tempest, ed. PETER HULME and WILLIAM H. SHERMAN, (eds.), (New York and London, 2004).

— The Tempest, VIRGINIA MASON VAUGHN and ALDEN T. VAUGHAN (eds.), The Arden Shakespeare, (Walton-Thames, Surrey, 1999).

— For online editions of the plays, see the websites, Furness Shakespeare Library (University of Pennsylvania), Electronic Text Center (University of Pennsylvania), and Internet Shakespeare Editions

SHAUGHNESSY, ROBERT (ed.) Shakespeare on Film (New York, 1988). SORGENFREI, Carol, Unspeakable Acts: The Avant-Garde Theatre of Terayama Shuji

and Postwar Japan (Honolulu, 2005). SPONSLER, CLAIRE and XIAOMEI CHEN (eds.), East of West, Cross-Cultural

Performance the Staging of Difference (New York, 2000). TAKAHASHI, YASUNARI, “Suzuki Tadashi’s The Tale of Lear,” in MINAMI

RUTUA, IAN CARRUTHERS, and JOHN GILLIES (eds.), Performing Shakespeare in Japan (Cambridge, 2001).

TAYLOR, GARY, The Reinvention of Shakespeare, A Cultural History from the Restoration to the Present (New York, 1989).

TYSON, LOIS, Critical Theory Today, a User-Friendly Guide (New York and London, 1999). VAUGHAN, VIRGINIA MASON and ALDEN T. VAUGHAN, ed., Critical Essays on Shakespeare’s The Tempest (New York, 1998). — Shakespeare’s Caliban, A Cultural History (Cambridge, 1991). WALTER, HAROLD, Black Theatre in French: a guide (Quebec, 1978). WATSON, IAN, et al., Negotiating Cultures (Manchester, 2002). WHITE, R. S., ed., The Tempest, Contemporary Critical Essays (New York: St. Martin’s Press, 1999). WILLIAMS, GARY JAY, Our Moonlight Revels: A Midsummer Night’s Dream in the

Theatre (Iowa City, 1997). — “Timon of Athens: Stage History 1816-1978” in ROELF SOELLNER, Timon of

Athens, Shakespeare’s Pessimistic Tragedy (Columbus, 1979). WILLIAMS, DAVID (comp.), Peter Brook: A Theatrical Casebook (London and New York, 1988). — Collaborative Theatre, The Thèâtre du Soleil Sourcebook ( London and New York, 1999). WILLIAMS, SIMON, Shakespeare on the German Stage. Volume I: 1586-1914 (Cambridge, 1990). WORTHEN, W. B., Shakespeare and the Authority of Performance (Cambridge, 1997). --Shakespeare and the Force of Modern Performance (Cambridge, 2003). ZARRILLI, PHILLIP B., “For Whom is the King a King? Issues of Intercultural

Production, Perception, and Reception in a Kathkali King Lear,” Critical Theory and Performance, JANELLE G. REINELT and JOSEPH R. ROACH (eds.), (Ann Arbor, 1992).

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CHAPTER 13: INTERCULTURALISM, HYBRIDITY, TOURISM: THE PERFORMING WORLD ON NEW TERMS

KEY REFERENCES BARUCHA, RUSTOM, The Politics of Cultural Practice, Thinking Through Theatre in

an Age of Globalization (Hanover and London, 2000). BLUMENTHAL, EILEEN, Julie Taymor: Playing With Fire: Theatre, Opera, Film,

expanded edn., (New York, 1999). CARLSON, MARVIN, “The Macaronic Theatre,” in CLAIRE SPONSLER and

XIAOMEI CHEN (eds.), East of West, Cross-Cultural Performance and the Staging of Difference (New York, 2000).

FUSCO, COCO and GUILLERMO GÓMEZ-PEÑA, Two Amerindians Visit (Chicago, 1992). [A thirty-minute video tape is available from Data Bank in Chicago: Info@ydb.org, or 1-800-634-8544. A list of FUSCO’S performance works and publications is at http://www.thing.net/~cocofusco/ For works by GÓMEZ-PEÑA, see the bibliography for the Introduction to Part IV].

HONEGGER, GITTA, “Austria: School for Scandal,” Western European Stages 13: 5-12.

JAYWANT, JASMINE, RANBIR SINGH, and RAVI CHATURVEDI, “India”, in DON RUBIN (ed.), World Encyclopedia of Contemporary Theatre, vol. 5 (London, New York, 1994).

KIERNANDER, ADRIAN, Ariane Mnouchkine and the Théâtre du Soleil (Cambridge, 1993).

LEE, MEEWON, “The Seoul International Theatre Festival and Forum,” Asian Theatre Journal 6: 202-207.

LEITER, SAMUEL, The Great Stage Directors (New York, 1994). LO, JACQUELINE and HELEN GILBERT, “Toward a Topography of Cross-Cultural

Theatre Praxis,” TDR 46:31-47. PAVIS, PATRICE, Languages of the Stage: essays on the semiology of the theatre (New

York, 1982). ---Theatre at the Crossroads of Culture, trans. LOREN KRUGER (London and New York, 1992). SALTER, DENIS, “Hand Eye Mind Soul: Théâtre du Soleil,” Theater 24:59-65. SCHECHNER, RICHARD, Performance Studies, an Introduction (London and New

York, 2002). WEINTRAUB, ANDREW N., Power Plays, Wayang Golek Puppet Theater of West

Java, Southeast Asia Studies, no. 110 (Athens, Ohio, 2004). WILLIAMS, DAVID (ed.), Collaborative Theatre, the Thèâtre du Soleil Sourcebook (New York and London, 1999). ADDITIONAL REFERENCES AUSLANDER, PHILIP, Liveness: performance in a mediatized culture (London, 1999). BANDEM, I MADÉ, and DEBOER, FREDERIK E., Kaja and Kelod: Balinese dance in transition (Oxford, 1982).

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BANHAM, MARTIN AND HILL, ERROL, and WOODYARD, GEORGE (eds.),The Cambridge Guide to African and Caribbean Theatre (Cambridge, 1994).

—and PLASTOW, JANE (eds.), Contemporary African Plays (London, 1999). BARBER, KARIN, COLLINS, JOHN, and RICARD, ALAIN, West African

Popular Theatre (Bloomington, Ind., 1997). BENSON, EUGENE, and CONOLLY, L. W. (eds.), The Oxford Companion to

Canadian Theatre (Oxford, 1989). BHARUCHA, RUSTOM, The Politics of Cultural Practice: thinking through theatre

in an age of globalization (Hanover, New Hampshire, 2000). —The Politics of Cultural Practice: thinking through theatre in an age of globalization (London, 2000). —Rehearsals of Revolution: the political theater of Bengal (Honolulu, 1983). —The Theatre of Kanhailal: Pebet and memoirs of Africa (Calcutta, 1992). —Theatre and the World: performance and the politics of culture (London, 1993). BICKFORD-SMITH, V., et al., Cape Town: an illustrated social history (Cape Town, 1998). —Cape Town in the 20th Century (Cape Town, 1994). BLAIR, DOROTHY, African Literature in French (London, 1976). BRADBY, DAVID, Modern French Drama 1940--1990, 2nd edn. (Cambridge, 1991). —and DELGADO, MARIA (eds.), The Paris Jigsaw: internationalism and the city’s stages (Manchester, 2000). BRASK, PER (ed.), Contemporary Issues in Canadian Drama (Winnipeg, 1995). BREITINGER, ECKHARD (ed.), Theatre and Performance in Africa: intercultural

perspectives (Bayreuth, 1994). BURIAN, JARKA M., Leading Creators of Twentieth-Century Czech Theatre

(London, 2002). — Modern Czech Theatre: reflector and conscience of nation (Iowa City, 2000). BUURMSN, PETER, Wayang Golek: the entrancing world of Javanese puppet

theatre (Oxford, 1988). CARLSON, MARVIN, Contemporary Theatre in Egypt (New York, 1999). CHEUNG, MARTHA P. Y., and LAI, JANE C. C. (eds.), An Oxford Anthology of Contemporary Chinese Drama (Hong Kong, 1997). CHO, OH-KON, Korean Puppet Theatre: Kkoktu Kaksi (East Lansing,

Michigan.,1979). — Traditional Korean Theatre (Berkeley, 1988). CONTEH-MORGAN, JOHN, Theatre and Drama in Francophone Africa (Cambridge, 1994). CZERWINSKI, E. J., Contemporary Polish Theater and Drama (1956-1984) (New York, 1988). DARKOWSKA-NIDZGORSKI, OLENKA, and NIDZGORSKI, DENIS, Marionettes

et masques au cœur du théâtre africain (Saint-Maur, 1998) DAUSTER, FRANK (ed.), Perspectives on Contemporary Spanish American Theater (Cranbury, New Jersey, 1997). DILS, ANN and ALBRIGHT ANN COOPER, Moving History/Dancing Cultures

(Middletown, Conn., 2001).DUNTON, CHRIS, Make Man Talk True: Nigerian

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drama in English since 1970 (London, 1992). DUTT, UTPAL, Towards a Revolutionary Theatre (Calcutta, 1982). EMERY, LYNNE FAULEY, Black Dance in the United States from 1619 to Today,

2nd rev. edn. (Princeton, 1988). ENGLUND, CLAES, and JANZON, LEIF, Theatre in Sweden (Stockholm, 1997.) FILEWOD, ALAN, Collective Encounters: documentary theatre in English Canada

(Toronto, 1987). GLISSANT, EDOUARD, Caribbean Discourses: selected essays (Charlottesville, Virginia., 1993). GUNNER, LIZ (ed.), Politics and Performance: theatre, performance and song in

southern Africa (Johannesburg, 1994). HANSEN, KATHRYN, Grounds for Play: the theatre of north India (Berkeley,

1992). HASHMI, SAFDAR, The Right to Perform (Delhi, 1989). JACOB, PAUL (ed.), Contemporary Indian Theatre (New Delhi, 1989). JAPAN FOUNDATION, Dance and Music in South Asian Drama (Tokyo, 1983). JOHNSTON, DENIS W., Up the Mainstream: the rise of Toronto’s alternative

theatres 1968-1975 (Toronto, 1991). JONES, BRIDGET DICKSON, and LITTLEWOOD, SITA E., Paradoxes of French

Caribbean Theatre: an annotated checklist of dramatic works: Guadeloupe, Guyane, Martinique from 1900 (London, 1997).

KNOWLES, RIC, The Theatre of Form and the Production of Meaning: contemporaryCanadian dramaturgies (Toronto, 1999). KRAVEL, PECH T., Yike and Bassac: theatre of Cambodia (Phnom Penh, 1997). KRUGER, LOREN, The Drama of South Africa; plays, pageants and publics since 1910 (London, 1999). — The National Stage: theatre and cultural legitimation in England France, and America (Chicago, 1992). LAL, ANANDA, Rabindranath Tagore: three plays (Calcutta, 1987). LANDAU, JACK, Studies in Arab Theatre and Cinema (Philadelphia, 1958). LAYIWOLA DELE (ed.), African Theatre in Performance (Amsterdam, 2000). LEE, JOSEPHINE, Performing Asian America: race and ethnicity on the contemporary

stage (Philadelphia, 1997). McDONALD, MARIANNE, Ancient Sun, Modern Light: Greek Drama on the Modern Stage (New York, 1991). MARKER, FREDERICK J., and MARKER, LISE-LONE, A History of Scandinavian Theatre (Cambridge, 1996). MIMI, HERBERT, Voices of the Puppet Masters; the wayang golek theatre of Indonesia (Honolulu, c2002). MNOUCHKINE, ARIANE, “The Theatre is Oriental,” in The Intercultural Performance

Reader, PATRICE PAVIS, ed.: 93-98, (London and New York, 1993). MOY, JAMES S., Marginal Sights: staging the Chinese in America (Iowa City,

1994). MUKHERJEE, SUSHIL KUMAR, The Story of the Calcutta Theatres: 1753–1980

(Calcutta, 1982).

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ORTOLANI, BENITO, The Japanese Theatre: from shamanistic ritual to contemporary pluralism (Princeton, 1995).

OWOMOYELA, OYEKAN, African Literatures: an introduction (Waltham, MA., 1979). — (ed.), A History of Twentieth-Century African Literatures (Lincoln, Nebraska., 1993). — Visions and Revisions: essays on African literature and criticism

(Washington, 1991). ORKIN, MARTIN, Drama and the South African State (Manchester, 1991). PAO, A.C. “Changing Faces: Recasting National Identity in All-Asian (-) American Dramas,” Theatre Journal 53: 389-409. PAVIS, PATRICE, ed., The Intercultural Performance Reader (London and New York, 1993). PETERSEN, BHEKIZIZWE, Monarchs, Missionaries and African Intellectuals:

African theatre and the unmaking of colonial marginality (Johannesburg, 2000).

PHIM, TONI SAMANTHA, and THOMPSON, ASHLEY, Dance in Cambodia (Oxford, 1999).

PLASTOW, JANE, African Theatre and Politics: the evolution of theatre in Ethiopia, Tanzania and Zimbabwe. A comparative study (Amsterdam, 1996).

PONG, CUOA SOO (ed.), Traditional Theatre in Southeast Asia (Singapore, 1995).

POWELL, BRIAN, Japan's Modern Theatre: a century of change and continuity (London, 2002).

RAHA, KIRONMOY, Bengali Theatre, 2nd edn. (New Delhi, 1993). REBELLATO, DAN, 1956 and All That: the Making of modern British drama

(London, 1999). RIMER, J. THOMAS, Towards a Modern Japanese Theatre: Kishida Kunio (Princeton, 1974). ROBERTSON, JENNIFER, Takarazuka: sexual politics and popular culture in

modern Japan (Berkeley, 1998). ROLF, ROBERT T., “Tokyo Theatre 1990,” Asian Theatre Journal 9, 1 (Spring 1992), 85-111. RUBIN, DON, (ed.), Canadian Theatre History: selected readings (Toronto, 1996). RUTNIN, MATTANI MOJDARA, Dance, Drama, and Theatre in Thailand: the process of development and modernization (Toyo Bunko,1993). SADDLEMYER, ANN and PLANT, RICHARD (eds.), Later Stages: essays in Ontario theatre from the First World War to the 1970s (Toronto, 1997). SARACHCHANDRA, E. R., The Folk Drama of Ceylon (Colombo, 1966). SCHÉRER, JACQUES, Le Théâtre en Afrique noire francophone (Paris, 1992). SCHIPPER, MINEKE, Theatre and Society in Africa (Johannesburg, 1982). SINGER, NOEL, Burmese Theatre and Dance (Oxford, 1995). SIRCAR, BADAL, The Third Theatre (Calcutta, 1978). SWEENEY, AMIN, Malay Shadow Puppets: the Wayang Siam of Kelantan

(London, 1980).

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TAYLOR, DIANA, The Archive and the Repertoire: Performing Cultural Memory in the Americas (Durham, 2003). TSUBIOKE, EIKO (ed.), Theatre Japan, 2nd edn. (Tokyo, 1993). TUCKER, P., Just the Ticket (Johannesburg, 1997). VATSYAYAN, KAPILA, Traditional Indian Theatre: multiple streams (New Delhi,

1980). YUNG, BELL, Cantonese Opera: performance as a creative process (Cambridge,

1989). CHAPTER 13: CASE STUDIES CASE STUDY: WHOSE MAHABHARATA IS IT, ANYWAY? INTERPRETIVE APPROACH: THE ETHICS AND AESTHETICS OF INTERCULTURAL

PERFORMANCE KEY REFERENCES FRASCA, RICHARD ARMAND, The Theatre of the Mahabharata: terukuttu

performance in south India (Honolulu, 1990). BHARUCHA, RUSTOM, Theatre and the World: Performance and the Politics of

Culture (London and NY, 1993; India, 1990). BROOK, PETER, The Empty Space (Harmondsworth, 1968). CARRIÈRE, JEAN-CLAUDE, trans. The Mahabharata: A Play Based Upon the Indian

Classic Epic, trans. PETER BROOK (New York, 1987). LO, JACQUELINE and HELEN GILBERT, “Toward a Topography of Cross-Cultural

Theatre Praxis,” The Drama Review, 46, 3:31-53. PAVIS, PATRICE, Theatre at the Crossroads of Culture, trans. LOREN KRUGER,

(London and New York, 1992). — (ed.), The Intercultural Performance Reader (London and New York, 1996). SAID, EDWARD W., Orientalism (New York, 1978). SHEVTSOVA, MARIA, “Interaction-Interpretation: The Mahabharata from a Socio-

Cultural Perspective,” in DAVID WILLIAMS (ed.) Peter Brook and the Mahabharata: Critical Perspectives (London and New York, 1991).

SORGENFREI, CAROL FISHER, “Intercultural Directing: Revitalizing Force or Spiritual Rape?” IN MARC MAUFORT (ed.) Staging Difference: Cultural Pluralism in American Theatre and Drama (New York, 1995).

WILLIAMS, DAVID (ed.), Peter Brook: A Theatrical Casebook (London, 1988). — (ed.), Peter Brook and the Mahabharata: Critical Perspectives (London and New

York, 1991). AUDIO-VISUAL RESOURCES BROOK, PETER (director), The Mahabharata, (Part 1: The Game of Dice; Part II: Exile

in the Forest; Part III: The War). Available for purchase from Parabola Video Lab or Insight Media.

Case Study: IMAGINING CONTEMPORARY CHINA: GAO XINGJIAN’S WILD

MAN IN POST-CULTURAL REVOLUTION CHINA

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INTERPRETIVE APPROACH: THEORIES OF NATIONAL IDENTITY KEY REFERENCES ANDERSON, BENEDICT, Imagined Communities: Reflections on the Origin and

Spread of Nationalism (London and New York, 1983, rev. ed. 1991). CHAUDHURI, U., Staging Place: The Geography of Modern Dance (Ann Arbor, 1995). CHEN, X. , Acting the Right Part: Poliitcal Theatre and Popular Drama in

Contemporary China (Honolulu, 2002). ----Reading the Right Text: An Anthology of Contemporary Chinese Drama (Honolulu,

2003). CHEUNG, M.P.Y. and Lai, J.C.C. (eds), An Oxford Anthology of Contemporary

Chinese Drama (New York. 1997). CONCEISON, C., Significant Other: Staging the American in China (Honolulu, 2004). DOLBY, WILLIAM. A History of Chinese Drama (London, 1976). FEI, FAYE CHUNFANG, Chinese Theories of Theater and Performance from Confucius

to the Present (Ann Arbor, 1999). FUEGI, JOHN, RENATE VORIS, CARL WEBER, and MARC SILBERMAN (eds.),

Brecht in Asia and Africa: The Brecht Yearbook XIV (Hong Kong, 1989). GAO, XINGJIAN, “Wild Man: A Contemporary Chinese Spoken Drama” trans.

BRUNO ROUBICEK, Asian Theatre Journal, vol. 7: 184-249. HSU, TAO-CHING, The Chinese Conception of the Theatre (Birmingham, 1985). KRUGER, LOREN, The National Stage: Theatre and Cultural Legitimation in England,

France and America (Chicago and London, 1992). LILLEY, R. Staging Hong Kong: Gender and Performance in Transition (Honolulu,

1998). LOVEL, J., The Politics of Cultural Capital: China’s Quest for a Nobel Prize in

Literature (Honolulu, 2006). LOPEZ, MANUEL D., Chinese Drama: an annotated bibliography of commentary, criticism, and plays in English translation (Metuchen, NJ, 1991). MCKERRAS, COLIN, Chinese Drama from its Origins to the Present Day

(Honolulu, 1988a). ---- (ed.), Chinese Theatre From Its Origins to the Present Day (Honolulu, 1983, paper,

1988). — Chinese Theater: from its origins to the present day (Honolulu, 1983). — The Performing Arts in Contemporary China (London, 1981). — and TUNG, CONSTANTINE (eds.), Drama in the People's Republic of China

(Albany, NY, 1987). PHILLIPS, H. “The Yellow Earth Becomes the Yellow Dragon: Eco-

Consciousness in Chinese Theatre of the 1980s,” Asian Theatre Journal. 26 (2): 135-147.

RILEY, JO, Chinese Theatre and the Actor in Performance (Cambridge 1997). SORGENFREI, CAROL FISHER, “Orientalizing the Self: Theatre in China After

Tiananmen Square,” The Drama Review (Winter, 1991): 169-185. SUN, W.H. and FEI, F.C., “China Dream: A Theatrical Dialogue Between East and

West,” in Pavis, P. (ed), The Intercultural Performance Reader (London, 1996). TIAN, MIN, “Alienation-Effect” for Whom? Brecht’s (Mis)interpretation of the Classical

Chinese Theatre,” Asian Theatre Journal, vol. 14: 200-222.

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TUNG, CONSTANTINE and COLIN MCKERRAS (eds.), Drama in the People’sRepublic of China (New York, 1987)..

YAN HAIPING (ed.), Theatre and Society: an anthology of contemporary Chinese drama (Armonk, 1998). YU SHIO-LING, “Cry to Heaven: A Play to Celebrate One Hundred Years of Chinese Spoken Drama, by Nick Rongjun Yu,” Asian Theatre Journal 26: 1: 1-53. ---- (trans. and ed.), Chinese Drama after the Cultural Revolution 1979-1989 (Lewiston, 1997). ZHAO, Z., Prisoner of the State: The Secret Journal of Premier Zhou Ziang, trans. and ed. by Bao Pu, Rene Chiang, and Adi Ignatius (New York, 2009). Case Study: BACKSTAGE/FRONTSTAGE: ETHNIC TOURIST

PERFORMANCES AND IDENTITY IN “AMERICA’S LITTLE SWITZERLAND”

INTERPRETIVE APPROACH: SOCIOLOGICAL THEORIES OF TOURISM AND EVERYDAY PERFORMANCE

KEY REFERENCES GOFFMAN, ERVING, The Presentation of Self in Everyday Life (Garden City, 1959). HOCHSCHILD, ARLIE RUSSELL, The Managed Heart: Commercialization of Human

Feeling (Berkeley, 1983). HSU, FRANCIS, “The Self in Cross-cultural Perspective,” in Culture and Self,

ANTHONY J. MARSELLA, GEORGE DEVOS and FRANCIS L.K. HSU (eds.), (New York, 1985).

KIRSHENBLATT-GIMBLETT, BARBARA, Destination Culture: tourism, museums, and heritage (Berkeley, 1998).

NEFF, DEBORAH and PHILLIP B. ZARRILLI, Wilhelm Tell in America’s ‘Little Switzerland,’ (Onalaska, 1987).

MACCANNELL, DEAN, The Tourist: A New Theory of the Leisure Class (New York, 1976).

— Empty Meeting Grounds: The Tourist Papers (London, 1992). SCHELBERT, LEO, New Glarus 1845-1970: The Makings of a Swiss American Town

(Glarus, 1970). SCHILLER, FRIEDRICH, William Tell (Woodbury, N.Y., 1954). SMITH, VALENE L. (ed.), Hosts and Guests: The Anthropology of Tourism, 2nd edn.,

(Philadelphia, 1989). SNOW, STEPHEN EDDY Performing the Pilgrims (Jackson, 1993). URRY, JOHN, The Tourist Gaze (London, 1990). WALLACE, ELIZABETH MOORE and LILLIAN WALLACE MAYNARD, “This side

the gully” (Typed manuscript, 1925). AUDIO-VISUAL RESOURCES “Backstage Frontstage:” Wilhelm Tell in America’s “Little Switzerland,” DVD-Video

(50 minutes). Research: DEBORAH NEFF and PHILLIP ZARRILLI. Edited by SHARON GRADY. [Documentary of the Wilhelm Tell play and its production in

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New Glarus. Narrative edited from interviews with community members reflecting on Tell. Available from: University of Wisconsin-Madison, Folklore Program, Ingraham Hall, Madison, Wisconsin 53706. Web-site: Center for the Study of Upper Midwestern Cultures (http://csumc.wisc.edu )].