Women's Intercultural Performance

Holledge, Julie; Tompkins, Joanne

doi:10.4324/9780203136652

Cited by 25 publications

(13 citation statements)

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“…The literature on intercultural performance has grown and diversified in recent years (Schechner 1985;Pavis 1996;Fisher-Lichte 1997;Bharucha 2000;Holledge and Tompkins 2002;and others), and the special issue of Theatre, Dance and Performer Training on Intercultural Acting and Actor/Performer Training (2016) guest edited by Zarrilli, Sasitharan and Kapur made an important contribution to this field, as did the subsequent book that evolved from the journal issue, Intercultural Acting and Performer Training (2019) edited by the same team. However, Barbara Sellers-Young notes that the global discourse on intercultural performance still frequently centres on materialist readings of colonialism, race, gender, authenticity, cultural ownership and the political empowerment of post-colonial subjects.…”

Section: Editorial Mark Evans Cass Fleming and Sara Reedmentioning

confidence: 99%

Editorial

Evans¹,

Fleming²,

Reed³

2020

Theatre, Dance and Performance Training

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Section: Editorial Mark Evans Cass Fleming and Sara Reedmentioning

confidence: 99%

Editorial

Evans¹,

Fleming²,

Reed³

2020

Theatre, Dance and Performance Training

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“…The numerous Antigones of European theatre history provide a backdrop to Australian productions of the play (Steiner, 1984;Holledge and Tompkins, 2000), and to most productions in the globalized contemporary theatre (Bérard, 2008). According to the Aus -Stage database, there have been nearly fifty productions of Antigone since the Second World War in Australian theatre, but these have overwhelmingly been student or nonprofessional productions by Australian-Greek community groups (AusStage, 2008).…”

Section: The Political Contextmentioning

confidence: 99%

“…The production contributes to decades of theatre and contemporary perfor mance by artists dir ectly exploring indig enous issues (Casey, 2004;Holledge and Tompkins, 2000). The production contributes to decades of theatre and contemporary perfor mance by artists dir ectly exploring indig enous issues (Casey, 2004;Holledge and Tompkins, 2000).…”

Section: Socially Mourning the Deadmentioning

confidence: 99%

Contemporary Politics and Empathetic Emotions: Company B's Antigone

Tait¹

2010

New Theatre Quarterly

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Sydney-based Company B's 2008 season included The Burial at Thebes: Sophocles's Antigone in Irish poet Seamus Heaney's translation. This article shows how the production conveyed notions of war, social upheaval, displacement, and exile that are relevant to contemporary Australian spectators. With its ethnic and racial diversity, and one overt reference to the plight of indigenous people under colonial rule and its legacy, the production confirmed that the emotional resonances in this staging of Antigone reflect and yet transcend the contemporary Australian situation; and Peta Tait here argues that the production contributed to spectators' understanding of the emotions underlying contemporary political debates. Peta Tait is Professor of Theatre and Drama at La Trobe University. Her recent publications include Circus Bodies: Cultural Identity in Aerial Performance (Routledge, 2005) and Performing Emotions: Gender, Bodies, Spaces (Ashgate, 2002). She has published widely on theatre, drama, circus performance, and gender identity, and is co-editor (with Liz Schafer) of the anthology Australian Women's Drama: Texts and Feminisms (Currency Press, 1997).

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“…Holledge and Tompkins for instance, talk about 'the place of spaces that have no physical location'. 15 Theorists distinguish between real space (geo-political and architectural) and an imaginary spatial construct (triggered by metaphor and metonymy). Michel de Certeau points out the enormous influence that space structures have on social reality and meaning.…”

Section: Spectacle and Space: Male Versus Female Bodies In Taipucammentioning

confidence: 99%

Gendered Spaces in the Taipucam Festival, Singapore

Sankaran¹

2003

Theatre Research International

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The Hindu festival of Taipucam celebrated in honour of the male god Murugan is one of the public festivals that Hindus in Singapore celebrate with a great deal of aplomb and ceremony. It takes on the hue of a carnival and is a major tourist attraction. At the centre of the festival is the male kavadi bearer. Beside him walks the docile woman carrying her pot of milk. In the Taipucam festival procession, there is clearly apparent an empowered male versus a subsidiary female space, which appears determinate and confined, marking a tentative emergence of a subversive ‘feminist’ space that attempts to grasp at a measure of empowerment for women.

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Women's Intercultural Performance

Cited by 25 publications

References 0 publications

Editorial

Editorial

Contemporary Politics and Empathetic Emotions: Company B's Antigone

Gendered Spaces in the Taipucam Festival, Singapore

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