Western culture has a long and fraught history of cultural appropriation, a history that has particular resonance within performance practice. Patrice Pavis asks what is at stake politically and aesthetically when cultures meet at the crossroads of theatre.? A series of major recent productions are analysed, including Peter Brook''s Mahabharata, Cixous/Mnouchkine''s Indiande, and Barba''s Faust. These focus discussions on translation, appropriation, adaptation, cultural misunderstanding, and theatrical exploration. Never losing sight of the theatrical experience, Pavis confronts problems of colonialism, anthropology, and ethnography. This signals a radical movement away from the director and the word, towards the complex relationship between performance, performer, and spectator. Despite the problematic politics of cultural exchange in the theatre, interculturalism is not a one-sided process. Using the metaphor of the hourglass to discuss the transfer between source and target culture, Pavis asks what happens when the hourglass is turned upside down, when the `foreign'' culture speaks for itself.

Western culture has a long and fraught history of cultural appropriation, a history that has particular resonance within performance practice. Patrice Pavis asks what is at stake politically and aesthetically when cultures meet at the crossroads of theatre.? A series of major recent productions are analysed, including Peter Brook''s Mahabharata, Cixous/Mnouchkine''s Indiande, and Barba''s Faust. These focus discussions on translation, appropriation, adaptation, cultural misunderstanding, and theatrical exploration. Never losing sight of the theatrical experience, Pavis confronts problems of colonialism, anthropology, and ethnography. This signals a radical movement away from the director and the word, towards the complex relationship between performance, performer, and spectator. Despite the problematic politics of cultural exchange in the theatre, interculturalism is not a one-sided process. Using the metaphor of the hourglass to discuss the transfer between source and target culture, Pavis asks what happens when the hourglass is turned upside down, when the `foreign'' culture speaks for itself.

‘We have good reason to be wary of mise en scène, but that is all the more reason to question this wariness ... it seems that images from a performance come back to haunt us, as if to prolong and transform our experience as spectators, as if to force us to rethink the event, to return to our pleasure or our terror.’ – Patrice Pavis, from the foreword

Contemporary Mise en Scène is Patrice Pavis’s masterful analysis of the role that staging has played in the creation and practice of theatre throughout history. This stunningly ambitious study considers:

But it also applies sustained critical attention to the challenges of defining mise en scène, of tracking its development, and of exploring its possible futures. Joel Anderson’s powerful new translation lucidly realises Pavis’s investigation of the changing possibilities for stagecraft in the context of performance art, physical theatre and modern theory.

‘We have good reason to be wary of mise en scène, but that is all the more reason to question this wariness ... it seems that images from a performance come back to haunt us, as if to prolong and transform our experience as spectators, as if to force us to rethink the event, to return to our pleasure or our terror.’ – Patrice Pavis, from the foreword

Contemporary Mise en Scène is Patrice Pavis’s masterful analysis of the role that staging has played in the creation and practice of theatre throughout history. This stunningly ambitious study considers:

But it also applies sustained critical attention to the challenges of defining mise en scène, of tracking its development, and of exploring its possible futures. Joel Anderson’s powerful new translation lucidly realises Pavis’s investigation of the changing possibilities for stagecraft in the context of performance art, physical theatre and modern theory.

This book offers an exploration of the intersection of Korean theatre practice with Western literary theatre. Gangnam Style, K-Pop, the Korean Wave : who hasn''t heard of these recent Korean phenomena? Having spent two years in Korea as a theatrical and cultural ‘tourist’, Patrice Pavis was granted an unparalleled look at contemporary Korean culture. As well as analyzing these pop culture mainstays, however, he also discovered many uniquely Korean jewels of contemporary art and performance.

Examining topics including contemporary dance, puppets, installations, modernized pansori, ''Koreanized'' productions of European Classics and K-pop and its parody, this book provides a framework for an intercultural and globalized approach to Korean theatre. With the first three chapters of the book outlining methodology, the remaining chapters test – often deconstructing and transforming in the process - this framework, using focused case studies to introduce the reader to the cultural and artistic world of a nation with an increasing international presence in theatre and the arts alike.

The Routledge Dictionary of Contemporary Theatre and Performance provides the first authoritative alphabetical guide to the theatre and performance of the last 30 years.

Conceived and written by one of the foremost scholars and critics of theatre in the world, it literally takes us from Activism to Zapping, analysing everything along the way from Body Art and the Flashmob to Multimedia and the Postdramatic.

What we think of as ''performance'' and ''drama'' has undergone a transformation in recent decades. Similarly how these terms are defined, used and critiqued has also changed, thanks to interventions from a panoply of theorists from Derrida to Ranciere. Patrice Pavis''s Dictionary provides an indispensible roadmap for this complex and fascinating terrain; a volume no theatre bookshelf can afford to be without.

The Routledge Dictionary of Contemporary Theatre and Performance provides the first authoritative alphabetical guide to the theatre and performance of the last 30 years.

Conceived and written by one of the foremost scholars and critics of theatre in the world, it literally takes us from Activism to Zapping, analysing everything along the way from Body Art and the Flashmob to Multimedia and the Postdramatic.

What we think of as ''performance'' and ''drama'' has undergone a transformation in recent decades. Similarly how these terms are defined, used and critiqued has also changed, thanks to interventions from a panoply of theorists from Derrida to Ranciere. Patrice Pavis''s Dictionary provides an indispensible roadmap for this complex and fascinating terrain; a volume no theatre bookshelf can afford to be without.

Western culture has a long and fraught history of cultural appropriation, a history that has particular resonance within performance practice. Patrice Pavis asks what is at stake politically and aesthetically when cultures meet at the crossroads of theatre.? A series of major recent productions are analysed, including Peter Brook''s Mahabharata, Cixous/Mnouchkine''s Indiande, and Barba''s Faust. These focus discussions on translation, appropriation, adaptation, cultural misunderstanding, and theatrical exploration. Never losing sight of the theatrical experience, Pavis confronts problems of colonialism, anthropology, and ethnography. This signals a radical movement away from the director and the word, towards the complex relationship between performance, performer, and spectator. Despite the problematic politics of cultural exchange in the theatre, interculturalism is not a one-sided process. Using the metaphor of the hourglass to discuss the transfer between source and target culture, Pavis asks what happens when the hourglass is turned upside down, when the `foreign'' culture speaks for itself.

Western culture has a long and fraught history of cultural appropriation, a history that has particular resonance within performance practice. Patrice Pavis asks what is at stake politically and aesthetically when cultures meet at the crossroads of theatre.? A series of major recent productions are analysed, including Peter Brook''s Mahabharata, Cixous/Mnouchkine''s Indiande, and Barba''s Faust. These focus discussions on translation, appropriation, adaptation, cultural misunderstanding, and theatrical exploration. Never losing sight of the theatrical experience, Pavis confronts problems of colonialism, anthropology, and ethnography. This signals a radical movement away from the director and the word, towards the complex relationship between performance, performer, and spectator. Despite the problematic politics of cultural exchange in the theatre, interculturalism is not a one-sided process. Using the metaphor of the hourglass to discuss the transfer between source and target culture, Pavis asks what happens when the hourglass is turned upside down, when the `foreign'' culture speaks for itself.

‘We have good reason to be wary of mise en scène, but that is all the more reason to question this wariness ... it seems that images from a performance come back to haunt us, as if to prolong and transform our experience as spectators, as if to force us to rethink the event, to return to our pleasure or our terror.’ – Patrice Pavis, from the foreword

Contemporary Mise en Scène is Patrice Pavis’s masterful analysis of the role that staging has played in the creation and practice of theatre throughout history. This stunningly ambitious study considers:

But it also applies sustained critical attention to the challenges of defining mise en scène, of tracking its development, and of exploring its possible futures. Joel Anderson’s powerful new translation lucidly realises Pavis’s investigation of the changing possibilities for stagecraft in the context of performance art, physical theatre and modern theory.

‘We have good reason to be wary of mise en scène, but that is all the more reason to question this wariness ... it seems that images from a performance come back to haunt us, as if to prolong and transform our experience as spectators, as if to force us to rethink the event, to return to our pleasure or our terror.’ – Patrice Pavis, from the foreword

Contemporary Mise en Scène is Patrice Pavis’s masterful analysis of the role that staging has played in the creation and practice of theatre throughout history. This stunningly ambitious study considers:

But it also applies sustained critical attention to the challenges of defining mise en scène, of tracking its development, and of exploring its possible futures. Joel Anderson’s powerful new translation lucidly realises Pavis’s investigation of the changing possibilities for stagecraft in the context of performance art, physical theatre and modern theory.

This book offers an exploration of the intersection of Korean theatre practice with Western literary theatre. Gangnam Style, K-Pop, the Korean Wave : who hasn''t heard of these recent Korean phenomena? Having spent two years in Korea as a theatrical and cultural ‘tourist’, Patrice Pavis was granted an unparalleled look at contemporary Korean culture. As well as analyzing these pop culture mainstays, however, he also discovered many uniquely Korean jewels of contemporary art and performance.

Examining topics including contemporary dance, puppets, installations, modernized pansori, ''Koreanized'' productions of European Classics and K-pop and its parody, this book provides a framework for an intercultural and globalized approach to Korean theatre. With the first three chapters of the book outlining methodology, the remaining chapters test – often deconstructing and transforming in the process - this framework, using focused case studies to introduce the reader to the cultural and artistic world of a nation with an increasing international presence in theatre and the arts alike.

The Routledge Dictionary of Contemporary Theatre and Performance provides the first authoritative alphabetical guide to the theatre and performance of the last 30 years.

Conceived and written by one of the foremost scholars and critics of theatre in the world, it literally takes us from Activism to Zapping, analysing everything along the way from Body Art and the Flashmob to Multimedia and the Postdramatic.

What we think of as ''performance'' and ''drama'' has undergone a transformation in recent decades. Similarly how these terms are defined, used and critiqued has also changed, thanks to interventions from a panoply of theorists from Derrida to Ranciere. Patrice Pavis''s Dictionary provides an indispensible roadmap for this complex and fascinating terrain; a volume no theatre bookshelf can afford to be without.

The Routledge Dictionary of Contemporary Theatre and Performance provides the first authoritative alphabetical guide to the theatre and performance of the last 30 years.

Conceived and written by one of the foremost scholars and critics of theatre in the world, it literally takes us from Activism to Zapping, analysing everything along the way from Body Art and the Flashmob to Multimedia and the Postdramatic.

What we think of as ''performance'' and ''drama'' has undergone a transformation in recent decades. Similarly how these terms are defined, used and critiqued has also changed, thanks to interventions from a panoply of theorists from Derrida to Ranciere. Patrice Pavis''s Dictionary provides an indispensible roadmap for this complex and fascinating terrain; a volume no theatre bookshelf can afford to be without.