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Global Theatre
Today
14
© Geraint Lewis
Copyright © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.
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Approaching Global Theatre
• Theatre has a long, illustrious history.
• Non-European theatres were influenced
by developments of modern theatre in the
west.
• Theatre is influenced by the development
of global exchanges in communication.
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India, China, and Japan
• The end of the nineteenth century and
beginning of the twentieth:
– Increasing interchange between Asian and
western theatres
– Western theatre had a growing influence on
modern theatres
– Traditional theatre continued:
• Kathakali in India
• Beijing (Peking) opera in China
• Nō and kabuki in Japan
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India
• 5000 year old tradition of theatrical forms
• Often mixing dance and drama, and in several regional
forms, in local languages, using song
• Almost always from Hindu religious themes
• The Mahabharata and The Ramayana, religious epics
• Disruptions caused change
– World War I
– Advent of cinema “Bollywood”
– World War II
• Amateur theatre emerged
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Kathakalia, South India
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China
• After the civil war and Mao Zedong’s rise to power
in 1949:
– A return to traditional forms of popular theatre
– Carried govt. messages into countryside
• During the cultural revolution (began in 1966):
– Theatrical activity was restricted
– Propaganda dance/ drama
– Theatre artists were seen as
subversive and punished
• Since the death of Mao:
– Traditional forms are
becoming popular again
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Companies, Inc. All
rights reserved.
Also western
influneces
© Richard Termine
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Japan
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Japan
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Japan
• Since the end of World War II:
– Theatre has been healthy
– Gifted playwrights have
emerged
• Kinoshita Junji
• Three main branches of
theatre:
– Traditional theatre
– Shingeki (“new theatre”)
– Avant-garde, or experimental,
theatre
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Japan Now
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The Middle East
• Theatre is affected by politics of region
• Islam has strong prohibitions against theatre
• Influence of western dramatic techniques:
– Marun al-Naqqash
(Lebanese)
– Abu Khalil al-Qabbani
(Syrian)
– Ya’qub Sannu (JewishEgyptian)
– Beersheba (Israel)
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© Geraint Lewis
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The Middle East
• Today in certain countries, theatrical
activities have been halted due to the rise
of Islamic fundamentalism.
• Juliano Mer Khamis of The Freedom
Theatre in the West Bank – My dream is
that the Freedom Theatre will be a major
force cooperating with others in creating
cultural resistance, carrying on its
shoulders universal values of freedom and
justice.
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ACT,San Fransisco, A new adaptation
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African Theatres and Drama
• Derived from
traditional
performances that
were connected to
ceremonies and
rituals
• Involved colorful,
exotic, symbolic
costumes
• Had anticolonial and
antitotalitarian themes
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© Eliot Franks/ArenaPAL/The Image Works
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African Theatres and Drama
• Contemporary African theatre:
– English-speaking Africa
– French-speaking Africa
– Portuguese-speaking Africa
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English-speaking Africa
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Athol Fugard
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Athol Fugard
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Latin American Theatres
• Beginning of twentieth century:
– Comedies were popular as a way to tell truth
• Dealt with unique local customs of each nation
• Influenced by European styles of surrealism and
expressionism
• Following World War II:
– Focus on unique national issues and
concerns
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Latin American Theatres
• Latin American dramatists:
– Elena Garro (Mexico)
– Alejandro Sieveking (Chile)
– Guillermo Maldonado (Columbia)
– Mario Vargas Llosa
(Peru)
– Plinio Marcos
(Brazil)
Kitra Cahana/The
New York Times/Redux
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Latin American Theatres
• Augusto Boal (Brazil)
– Playwright, director, and theorist
– Wrote:
•
•
•
•
Theatre of the Oppressed
Games for Actors and Non-Actors
The Rainbow of Desire
Theatre for social change, the spect-actor, Invisible
Theatre – a scene in an unexpected place
• Forum Theatre, a discussion, a court case
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Europe and Great Britain
• European and British national theatres
– Receive subsidies from government
– Prestige from being considered “national”
– Examples:
•
•
•
•
Comédie Française (France)
National Theatre (Britain)
Royal Shakespeare Company (Britain)
Peter Brook (England), Arianne Mnouchkine
(France), Dario Fo and Franca Rame (Italy),
Robert Wilson (Germany)
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Europe and Great Britain
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Europe and Great Britain
• German dramatists:
– Peter Handke
– Heiner Müller
• Italian Dramatists
– Dario Fo
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European Directors/ Auteurs
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Europe and Great Britain
• British playwrights:
–
–
–
–
–
Tom Stoppard (The Coast of Utopia)
Patrick Marber (Dealer’s Choice, Closer)
Jez Butterworth (Jerusalem)
Sarah Kane (Blasted, Cleansed, Crave)
Caryl Churchill (Cloud Nine, Serious Money)
• Irish playwrights:
– Martin McDonagh (The Beauty Queen of Leenane,
The Cripple of Inishmaan, etc.)
– Conor McPherson (St. Nicholas, The Weir, Dublin
Carol)
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Canada and Australia Since WWII
• Both countries’ theatres developed
commercially
• Presented popular entertainment that also
reflected national identity
• Developed “little theatres”
– Presented noncommercial, often politically
charged works
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