Global Encounters in Theatre: Contexts and Modernities
Literature, Film, and Theatre Studies
Undergraduate: Level 5
Thursday 03 October 2019
Saturday 14 December 2019
27 February 2019
Requisites for this module
This module explores main traditions across Asia, Americas and Africa as well as continental Europe.
This second-year module will explore concepts and practices of performance and theatre from around the world and how these have influenced the development of the avant-garde in Europe. This module is designed to provide theoretical underpinning and some practical grounding. It will start by looking at ideas of interculturalism, nation/state, cultural identity, specifically at how scholars such as Patrice Pavis, Homi Bhabha and Erika Fischer-Lichte have shaped the study of theatre and forms of cultural encounters. Then, it will move on to look at main traditional forms of theatre in Asia, Africa and Southern America. It will finally go back to modern and contemporary European theatre practices.
This module will foster an interdisciplinary approach: it will make clear links with anthropology, cultural studies, history and film studies and will encourage students to make comparisons between practices and ideas through the employ of a variety of material: archive, video and cinematic material, literary texts and play-texts.
The aim of the module is to develop an understanding of the diverse theatrical traditions in terms of their cultural context and from a global transnational perspective, how each tradition is related to one another and cannot be seen in isolation.
This module will focus on the theory and contexts of Global Theatre and transcultural encounters and will equip students with a specialist knowledge of the notions and traditions explored.
Central to this module is the idea that learning and critical inquiries are based on cross-referencing, and the cumulative and in-depth acquisition of knowledge. The module seeks to foster initiative and independence in research and presentation of work, and a collaborative effort in class discussions.
1. Demonstrate knowledge specific to cross-cultural theatrical practices and performance cultures
2. Apply inter-cultural and interdisciplinary principles to scholarly practice
3. Increased confidence in addressing theoretical concepts in an appropriately analytical/critical way and relate them to a performance field
4. Gain the ability to think critically and comparatively about cultural manifestations from around the globe.
5. Acquire a knowledge of global and their political and cultural impact
6. Provide students with appropriate conceptual, and research skills that will be required for onward graduate employment, specifically within the field of dramaturgy, translation, art administration and cultural relations
No additional information available.
- Abdelkader Alloula. (©2008) 'The veil', in Four plays from North Africa, New York: Martin E. Segal Theatre Center Publications.
- DOLBY, WM. (1978) 'Hegemon King Says Farewell to His Queen,”', in Eight Chinese Plays, New York: Columbia University Press., pp.111-137
- Yukio Mishima. (1967) 'Kantan', in Five Modern Noh Plays, Tokyo: Tuttle.
- Wole Soyinka. (1963, reprinted 1967) A dance of the forest, London. vol. Three crowns book
- (no date) Peony Pavilion [DVD] .
- Xianzu Tang; Cyril Birch. (2002) The Peony Pavilion: Mudan ting, Bloomington: Indiana University Press.
- Sawaari, Sara; Tume, Tosin; Moyo, Thembelihle; Judith, Adong; Niala, J.C.; Putuma, Koleka; Mempuh, Sophia. (2019) Contemporary plays by African women: Niqabi ninja, Not that woman, I want to fly, Silent voices, Unsettled, Mbuzeni, Bonganyi, New York, NY: Methuen Drama, Bloomsbury Publishing Plc.
- Augusto Boal. (2008) Theatre of the oppressed, London: Pluto.
- Amine, Khalid. (2006) 'Theatre in the Arab World: A Difficult Birth', in Theatre Research International: Cambridge Core. vol. 31 (2) , pp.145-162
- Glenn Odom. (2017) 'Aesthetics', in World Theories of Theatre, Abingdon: Routledge., pp.43-53
- Gambaro, Griselda. (1992) Information for foreigners: three plays, Evanston, Illinois: Northwestern University Press.
- Joshua Goldstein. (1999) 'Mei Lanfang and the Nationalization of the Peking Opera, 1912-1930', in positions: east asia cultures critique. vol. 7 (2) , pp.377-420
- Glenn Odom. (©2017) World theories of theatre, Abingdon: Routledge.
- Sone, Yuji. (2010-03) 'Beyond Performance: Yukio Mishima's theatre of death', in Performance Research. vol. 15 (1) , pp.32-40
The above list is indicative of the essential reading for the course. The library makes provision for all reading list items, with digital provision where possible, and these resources are shared between students. Further reading can be obtained from this module's reading list.
Assessment items, weightings and deadlines
|Coursework / exam
||Individual performance plus 700-word individual critical reflection
||Group Practical Performance
Module supervisor and teaching staff
Dr Mary Mazzilli
LiFTS General Office - email email@example.com.
Telephone 01206 872626
Dr Anthony Fisher
Reader in Theatre and Philosophy
Available via Moodle
Of 24 hours, 0 (0%) hours available to students:
24 hours not recorded due to service coverage or fault;
0 hours not recorded due to opt-out by lecturer(s).
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