Abstract
Hegemonic Intercultural Theatre (HIT), the theatrical collaboration between East and West in the most traditional sense, is the most established and dominant form of intercultural theatre today. This essay investigates interrupted cultural flows and the problem of intervention in Eastern HIT, the degrees of interruption and intervention determining the success of the intercultural performance. Two examples, Orlando (2009) and 1433: The Grand Voyage (2010), are used to illustrate the notion of interruption and intervention in intercultural theatre. Directed by Robert Wilson and with casts that included Taiwan's famous traditional artists, both of these performances premiered at the National Theatre in Taipei.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
