... Felton-Dansky Controlling the Twenty-First Century Suppressed Theater and Global Change I. On the evening of Saturday, December 19, 2004, the Birmingham Repertory Theatre, in Birmingham, England, planned to open a world premiere: Behzti (Dishonor), by a young Sikh playwright named...

... its freedom and won- dered if we Americans are indeed as Lupa and his company imagine us to be. Theater 39:1  doi 10.1215/01610775-2008-016\ © 2009 by Allen Kuharski 111 David Cote Among the Global Villagers Lókal...

... 43 1 2 Global Voices 3 4 5 Performers in Conversation 6 7 Compiled and introduced by Adam S. Horowitz 8 9 10 11 12 13 14 Since the inception of  Yale University’s World Performance Project (w p p ) in 2006, I’ve spo- 15 ken with guest artists from around the world...

... Movement in the Age of Globalization: 2 3 A Panel 4 5 Yasmeen Godder, Opiyo Okach, and Yvonne Rainer 6 Moderated by Thomas F. DeFrantz 7 8 9 10 11 12 13 The following discussion took place on November And so I really connect my identity to a really 14 12, 2008...

...Una Chaudhuri © 2002 by Yale School of Drama/Yale Repertory Theatre 2002 Scene from Mahabharata, directed by Peter Brook, Brooklyn Academy of Music, 1987. Photo: Gilles Abegg Una Chaudhuri Beyond a “Taxonomic Theater”: Interculturalism after Postcolonialism and Globalization...

...Jack Zipes © 2003 by Yale School of Drama/Yale Repertory Theatre 2003 Thomas Ahrens and Regine Seidler in Grips Theatre’s Melodys Ring , Berlin, 2000. Photo: David Baltzer Jack Zipes Political Children’s Theater in the Age of Globalization Thirty years ago I went...

...Jean Graham-Jones This introduction to the author’s translation of Rafael Spregelburd’s play situates both text and production within the Argentine artist’s oeuvre and poetics and analyzes them as critiques of contemporary globalized society. The article argues that Spam proposes language as a tool...

...Emily Coates In this article, Emily Coates discusses the work of three choreographers—Opiyo Okach, Yasmeen Godder, and Yvonne Rainer—whose work was shown at Yale University's Festival of International Dance in 2008. She examines their work from both global and local perspectives, suggesting various...

...Brent Meersman; Savas Patsalidis; Max Glauner; Barbara Orel; Rolf Dennemann This forum compiles contributions from a group of leading international critics and producers on the subject of theater festival culture in a globalized world. Brent Meersman discusses the politics of arts festivals...

... reveal new, emerging understandings of the human, the global, and the live. © 2016 by Yale School of Drama/Yale Repertory Theatre 2016 telegraph plays nineteenth-century plays William Gillette Dion Boucicault Elmer Vance Figure 1: Lithograph of a scene from Act II of Secret Service...

... his artistic programming and output in the period, personally and institutionally, with particular emphasis on works produced at ntg ent. The authors focus especially on Rau’s efforts to produce work with global collaborators, as seen in his Orestes in Mosul (2019) and other works. Boenisch and Houe...

... of the piece around Europe and on-site in a radio studio in Kigali and explaining the role of radio in the Rwandan genocide of 1994. With The Congo Tribunal , Defraeye identifies several of the many global ramifications of what is often referred to as the African World War and summarizes the three cases...

... issues of representation and ghettoization of artists to the challenges of the so-called white cube phenomenon. © 2017 by Sigrid Gareis and Tilmann Broszat 2017 global contemporary performance curation spielart Festival Show Me the World white cube “Show Me The World,” Haus der Kunst...

... the work of individual artists who recalibrate theatrical form to address issues of human rights and social justice. We re starting with a director and author whose global work remains relatively unknown in the English-­speaking world. Milo Rau, the Swiss-b­ orn founder of the International Institute...

... physicality according to specific aesthetic and kinesiological principles. My focus will remain U.S.-centered, while at the same time trying to take account of various devel- opments associated with the emergence of global and media-produced stages. Theater 40:1  doi 10.1215/01610775-2009-016 © 2010...

... s work more broadly, remains overlooked; yet an American theater struggling to connect to global currents has much to learn from it. The triptych comprises three works: Kitchen Prayers: Performance Dialog on 9/11 and Global Loss, Identities on Trial: A Kitchen Protest Prayer, and Sapphire s New Shoe...

...Rustom Bharucha © 2001 by Yale School of Drama/Yale Repertory Theatre 2001 Bharucha, Rustom. 1999 . “Interculturalism and Its Discriminations: Shifting the Agendas of the National, the Multicultural,and the Global.” Third Text 46 (spring): 3 -23. ———. 2000 . The Politics...

... in a kind of creative the day, pace those many, including Vinaver, who expression that has yet to come into clear focus: an were actually writing plays. art that justifiably can be called global. As becomes Today, a generation later, the Cold War evident in the following...

... you think it’s a sign of institutional desperation in accompanied the rise of the curator. One is the the world of theater to be more like the art world? kind of globalization that you’re talking about, the creation of a global network for the touring...