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ABSTRACT: The object of this study is the crossroads of culture in contemporary theatre practice, the relationship between theatre and the other cultures. Never before has the stage contemplated and manipulated the various cultures of the world to such a degree. Mise en scène in the theatre is today perhaps the last refuge and the most rigorous laboratory for this mix: it examines every cultural representation and appropriating it through the mediation of stage and auditorium. The model of intertextuality, derived from structuralism and semiotics, yields to that of interculturalism. It is no longer enough to describe the relationships between texts to grasp their internal functioning. It is also necessary to understand their inscription within contexts and cultures and to appreciate the cultural production. The term “interculturalism”, rather than “multiculturalism” or “transculturalism”, seems appropriate to the task of grasping the exchanges of civilities between cultures.

 

KEYWORDS: contemporary theatre, cultural production, intertextuality, structuralism, semiotics, interculturalism

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