Cross-cultural Exchange and Cultural Mobility

I think about paradoxical needs this experience embodies—for community and solitude; structures and flexibility; stability and change—and the need for all of it, simultaneously, in our lives, our practices, our field.

In the following Around the Teapot series, three writers reflect on “Adventuring Together: Ensembles, Collectives, Laboratories & Networks,” a weekend-long gathering of performance artists and scholars, from across the U.S. and Europe, held in Los Angeles. 

Chanakya Vyas teams up with the HartBeat Ensemble to explore the connections between India and America through oral interviews to find the obvious can be overlooked. 

Elaine Ávila explains why she does not define herself as Latina, but takes accepts that designation with the highest honors.

Steven Ginsburg explores his expectations of globalization in India versus the realities of the quick economic growth spurt.  

From 2008 to the present, playwright Adrienne Kennedy and Egyptian scholar Nadia Maher were in correspondence. This is an edited selection of emails they exchanged while Nadia was working on her Master’s thesis during the Egyptian Revolution.

Elaina Avila, inspired by the Occupy Movement, decided to write plays for the 99%. Here's what happened.

Daniel Sack writes through the one-night-only performance of Romeo Catellucci's Schwanengesang D744 at the 2013 Avignon Festival, and how it turned its gaze back on the spectator.

In the midst of the fringe festival, Kingston escapes to site-specific theatre coming face to face with the lines of audience participates and affects.

From her time being in a country the size of Michigan that brews narratives of local experiences, Regan wonders about the United States ability to cultivate plays that reflect local area’s stories.

Talya Kingston shares her experiences with Nirbhaya, Quietly, and The Events at Edinburgh Fringe in the second installment of this series focusing on the idea of witnessing.

In this first installment, Talya Kingston struggles to figure out the best way to choose from all of the possible selections to see at Edinburgh Fringe.

With one actor playing to one audience member, Garret Jon Groenvelt sought to create a play that entices the audience member to interact with the material.

Emily Mendelsohn shares insight into her experience directing Cooking Oil written by Deborah Asiimwe in Uganda.

Rounding out his time in Russia, Christopher White recounts the thriving artistic community in Moscow.

Christopher W. White reports on his visit to the provincial city of Omsk, Russia.

Continuing the series, Christopher W. White reflects on his time viewing the strikingly contemporary art in Yekaterinburg

Paz Pardo explores the theatre models of the United States and Argentina.

Robert Matney writes about the various ways in which theater companies are adapting and thriving by incorporating technology into their practice.