Theatre, Globalization and the Heteroglobal Method

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This volume explores the notion of a heteroglobal approach to understand global circulation of performance. This approach starts with the local theoretical and philosophical frameworks from five imagined centres and then considers the knowledges about art and globalisation that emerge from a combination of these concepts. 1 b&w illus. A groundbreaking framework for rethinking global theatre studies. Drawing on philosophy and scholarship from major theatre traditions—South Africa, the United States, the United Kingdom, China, Japan and Nigeria—the volume reimagines how performance circulates and transforms in a global context. Challenging the dominance of Eurocentric models in postcolonial studies, comparative literature and world theatre, the book introduces the “heteroglobal” method: an adaptable, equitable approach that begins with local theoretical and philosophical frameworks before bringing them into dialogue. These imagined centers, each with its own rich discursive heritage, become sites of knowledge exchange where fresh understandings of art and globalization emerge. Through a theoretically pluralistic matrix of comparison and interculturalism, Theatre, Globalization and the Heteroglobal Method documents contemporary scholarly and artistic practices across diverse cultural landscapes, offering a new model for teaching, research and performance in an interconnected world. Glenn Odom is a UK-based independent scholar. His research explores intercultural theatre, global performance theory and alternative education models This volume documents the current scholarly and artistic practices surrounding comparison and globalisation in theatre in five geographic locations that imagine themselves as global centers of knowledge exchange. Explores the notion of a heteroglobal approach to understand global circulation of performance. This approach starts with the local theoretical and philosophical frameworks from five imagined centres and then considers the knowledges about art and globalisation that emerge from a combination of these concepts. These “imagined centers”, each containing a rich array of discourses, are South Africa, the U.S. and U.K., China, Japan, and Nigeria. By considering “comparison” and “intercultural theatre (to use culturally specific names for a range of pursuits) as practiced in each of these local contexts as they theorize the global, this volume advances a more globally-inflected approach to studying globalization through a theoretically pluralistic matrix of different modes of comparison and interculturalism.

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Pagina's: 260, Hardcover, Intellect Books