Western Theatre in Global Contexts

Jillian Campana is a Professor and Director of the Theatre program at the American University in Cairo, in Egypt. She has taught and devised new work across the United States, Europe and Asia and worked with Augusto Boal in both Brazil and the US. Campana has developed drama programs around the world including ones for military veterans, a Swedish brain injury rehabilitation center, and a shelter for victims of human trafficking in India.Yasmine Marie Jahanmir is Assistant Professor in Theatre History, Literature, and Theory at the University of Nevada, Reno. She has recently taught and directed at the American University of Kuwait. Her research interests include nationalism in performance, gendered sport, Middle Eastern theatre, and performance pedagogy.

• Section 1: Global Flows: Western Theatre in International Contexts1. An Introduction to Western Theatre in Global ContextsJillian Campana and Yasmine Jahanmir2. Similarities and Differences in Teaching Western Based Theatre in China and the Arab WorldMarvin CarlsonSection 2: International Stages: Western Theatre in Performance3. Lysistrata in Cairo: maintaining values while extending the limitJillian Campana4. Laxmi Bai got Drunk at Malini’s Dinner and Venturewell became an Underwear Baron: JUDE productions of Western classics in Kolkata, IndiaArnab Banerji5. West Side Stories: the racial politics and aesthetic considerations of staging Hell’s Kitchen globallyYasmine Jahanmir6. Across a Cloudy Room: the cultural appropriation of American musicals by Chinese students at the expense of their own national identity; a case study Jim Mirrione and Wei Song7. How to Swim in the Desert: on developing a theatre department in OmanMark TardiSection 3: Pedagogy Abroad: Western Theatre in Education 8. The Viewpoints as Transcultural PedagogyAdam Christopher Marple9. The ISTA Performing Arts Academies in Shanghai and Hong KongAnne Drouet and Jillian Campana10. Reaching the AudienceFenella Kelly11. Collaborative Creations: teaching devised performance in Santiago, ChileAnne García-RomeroSection 4: Intercultural Exchanges: Theory and Practice12. The Ethical Demand of Experiencing Imaginative Literature in Teaching Sophocles’ Antigone to Students of Applied EnglishSelma Helal13. Post/Colonial Theatre in Madagascar: hybridity and controversy in Jean-Luc Raharimanana’s Le Prophète et le PrésidentHaddy Kreie14. Towards "Relevance" and Collective Action in a South African School’s Touring production of Shakespeare’s Antony and Cleopatra: discovering the operations of Imperial Rome, Cleopatra’s power and the meaning of a crocodileSarah Roberts and Néka Da Costa15. Intersections and Encounters: the meshwork of an international Australian/Jordanian puppet theatre collaborationLynne Kent16. Conclusion: provocations for educators and practitionersJillian Campana and Yasmine Jahanmir