Toward a Topography of Cross-Cultural Theatre Praxis

In this essay we attempt to map out a conceptual framework for analyzing a cluster of related practices subsumed under the broad banner of "cross-cultural theatre". For the purposes of our discussion, cross-cultural theatre encompasses public performance practices characterized by the conjunction of specific cultural resources at the level of narrative content, performance aesthetics, production processes, and/or reception by an interpretive community. The cultural resources at issue may be material or symbolic, taking the form of particular objects or properties, languages, myths, rituals, embodied techniques, training methods, and visual practices - or what James Brandon calls "cultural fragments" (1990:92). Cross-cultural theatre inevitably entails a process of encounter and negotiation between different cultural sensibilities, although the degree to which this is discernible in any performance event will vary considerably depending on the artistic capital brought to a project as well as the location and working processes involved in its development and execution