In this article, Emily Coates proposes the concept of “intercultural kinesis” to describe the transnational collaborations; temporary, embodied onstage communities; and surprising juxtapositions of cultural heritages present in three productions brought to Yale University by the World Performance Project: Dean Moss and Sungmyung Chun's Nameless forest, Maria Jerez's The Case of the Spectator, and the Rude Mechs' The Method Gun.

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