Chapter 3: Theatre and Cultural Diversity

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Chapter 3: Theatre and Cultural Diversity

  1. 1. Chapter 3Chapter 3 Theatre and Cultural DiversityTheatre and Cultural Diversity
  2. 2. Critical Mirror:Critical Mirror: Art and Entertainment Reflect CultureArt and Entertainment Reflect Culture Culture – the values, standards, andCulture – the values, standards, and patterns of behavior of a particular grouppatterns of behavior of a particular group of peopleof people Enculturation – the process by which weEnculturation – the process by which we learn our culturelearn our culture
  3. 3. Theatre Outside the DominantTheatre Outside the Dominant CultureCulture Multiculturalism –Multiculturalism – the endeavor tothe endeavor to overcome all forms ofovercome all forms of discrimination,discrimination, including racism,including racism, sexism, andsexism, and homophobia, so thathomophobia, so that people can coexistpeople can coexist peacefully andpeacefully and attempt to achieve aattempt to achieve a pluralisticpluralistic society.society. MichalDaniel/Proofsheet
  4. 4. Basic TypesBasic Types ofof Theatre of the PeopleTheatre of the People Theatre of IdentityTheatre of Identity Theatre of ProtestTheatre of Protest Cross-cultural TheatreCross-cultural Theatre
  5. 5. Theatre of IdentityTheatre of Identity PPromotes aromotes a particular people’sparticular people’s cultural identity andcultural identity and invites members ofinvites members of that culture andthat culture and others to experienceothers to experience their joys, problems,their joys, problems, history, traditions,history, traditions, and point of view.and point of view. ©MarthaSwopePhotography
  6. 6. Yiddish TheatreYiddish Theatre During the first half ofDuring the first half of the 20the 20thth Century,Century, NYC’s SecondNYC’s Second Avenue was knownAvenue was known as the “Yiddishas the “Yiddish Broadway” becauseBroadway” because so many Jewishso many Jewish theatres were locatedtheatres were located there.there. HultonArchive/GettyImages
  7. 7. African American TheatreAfrican American Theatre August Wilson’s plays have chronicled theAugust Wilson’s plays have chronicled the decades’ long struggle of Blacks in his nativedecades’ long struggle of Blacks in his native Pittsburgh.Pittsburgh. DonIpockPhotography/KansasCityRepertoryTheatre
  8. 8. African American TheatreAfrican American Theatre WithWith Topdog/Underdog,Topdog/Underdog, Suzan-Lori ParksSuzan-Lori Parks became the first African American woman to winbecame the first African American woman to win the Pulitzer Prize for Drama.the Pulitzer Prize for Drama. Michal Daniel/Proofsheet
  9. 9. Asian American TheatreAsian American Theatre In response to a whiteIn response to a white British actor playingBritish actor playing the Asian lead inthe Asian lead in MissMiss SaigonSaigon on Broadway,on Broadway, actor B.D. Wongactor B.D. Wong asked, “If Asianasked, “If Asian American actorsAmerican actors aren’t good enough toaren’t good enough to play Asian roles, whatplay Asian roles, what are we good for?”are we good for?” Joan Marcus/Photofest
  10. 10. Theatre of ProtestTheatre of Protest Objects to the dominant culture’s control andObjects to the dominant culture’s control and demands that a minority culture’s voice anddemands that a minority culture’s voice and political agenda be heard.political agenda be heard.
  11. 11. Hispanic American TheatreHispanic American Theatre  El Teatro Camesino (The Farmworkers Theatre) was founded in 1965 by Luis Valdez.  Valdez’s play concerning the Zoot Suit riots in the 1940s is Zoot Suit . Universal/TheKobalCollection
  12. 12. Cross-cultural TheatreCross-cultural Theatre Mixes differentMixes different cultures in ancultures in an attempt to findattempt to find understandingunderstanding or commonalityor commonality among them.among them. Denver Center for Michal Daniel/Proofsheet the Performing Arts
  13. 13. Cross-cultural TheatreCross-cultural Theatre The playThe play Black Elk Speaks ,Black Elk Speaks , which was adaptedwhich was adapted from an oral biography of a Sioux holy man, tellsfrom an oral biography of a Sioux holy man, tells the story of white America’s westward expansionthe story of white America’s westward expansion from the Native American perspective.from the Native American perspective. Japanese director Shozo Sato stages WesternJapanese director Shozo Sato stages Western classics such asclassics such as Medea, FaustMedea, Faust, and, and MacbethMacbeth inin Japanese Kabuki style.Japanese Kabuki style.
  14. 14. Theatre as a Way of Seeing throughTheatre as a Way of Seeing through Another’s EyesAnother’s Eyes Ethnocentrism – privileging how one sees other cultures through the lens of one’s own Michal Daniel/Proofsheet
  15. 15. Keeping Theatre of the People AliveKeeping Theatre of the People Alive ““A healthy state needs vigorous, lively, pluralistic debate,A healthy state needs vigorous, lively, pluralistic debate, not enforced acquiescence to a bullying majority.”not enforced acquiescence to a bullying majority.” Tony Kushner, playwright L.Mueller/Staff/TheCharlotteObserver
  16. 16. National Endowment for the ArtsNational Endowment for the Arts  The NEA enrichesThe NEA enriches our nation and itsour nation and its diverse culturaldiverse cultural heritage byheritage by  supporting works ofsupporting works of artistic excellenceartistic excellence  advancing learning inadvancing learning in the artsthe arts  strengthening arts instrengthening arts in the communitiesthe communities throughout thethroughout the countrycountry Jane Alexander, former head of the NEA,Jane Alexander, former head of the NEA, testifies before Congress in the earlytestifies before Congress in the early 1990s.1990s. TerryAshe/TimeLifePictures/GettyImages
  17. 17. Curtain CallCurtain Call ““Cultural diversity is as necessary forCultural diversity is as necessary for humankind as biodiversity is for nature.”humankind as biodiversity is for nature.” UNESCO’sUNESCO’s Universal DeclarationUniversal Declaration on Cultural Diversityon Cultural Diversity

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