Ancient Greek drama became the driving force in the Western theatrical revolution of the 1920s with Leopold Jessner's famous staging of King Oedipus in 1919. Once again theatre defined itself as the public tribune: the Athenian polis with its direct democracy giving way to the concept of a new social collective for the scientific age. The urgency of the impulse for social change coupled with the experience of World War I led to the investigation of images and action as forces (...) of internal necessity arising from the existentielle Angst of a whole generation of artists who found themselves face to face with the spiritual bankruptcy of the bourgeois social order. The long-term effects of the new dramatists’ radical re-viewings of the Greek theatre's potential as a progressive social undertaking—revealing its use value—may be detected in current-day rehearsal practices. Some of these effects are the subject of this article, which presents the author's experience of directing Sophocles’ Antigone in 1986 at the ancient Greek theatre of Oeniades. (shrink)

The subject of intercultural exchange is complex and demands that we keep the basic issues that shape our views of the world in mind. And one of these basic issues is what we mean by “European identity.” The ideological concerns over the norms of identity became necessarily entangled in the post-1989 interests and agendas of Europe’s various nations. So the great challenge for us as academics as well as for the policymakers in Brussels and Strasburg is to focus on these (...) dialectics. European identity is too varied to be a unitary and homogenous thing; indeed, one of the battles within it is between the advocates of a unitary identity and those who see the whole as a complex that is irreducible to a unified identity. In this article I explore how the theatre, in the aftermath of the Second World War, served as a laboratory for the investigation, analysis, and constuction of dramatic models that became a means of transcultural communication. As attested by the continuing success of the experimental approaches of Brecht, Grotowski, La Mama, and Suzuki, this endeavour reflected the struggle of people from different cultural backgrounds to understand and accept each other. One of the reasons the theatre continues to have the potentiality to promote transcultural integration is that it deals in concrete particulars with universal resonances. As I will demonstrate with examples from my own work in various countries, the production and directing of plays by these and other dramatists shows that it is only in the performance—by transforming the familiar into the unfamiliar, by making the habitual and customary seem strange and unexpected—that the motives, relationships, and events enclosed in the written play are released so as to stimulate the audience to re-examine their own contemporary realities. Transcultural theatre thus creates dramatic experiences that are adequate and responsive to the changing world of migration and mobility in which both practitioners and audiences actually live. As such it offers the kind of transcultural education that promotes communication and understanding and that fosters an open-eyed and open-hearted attitude to the changing realities of Europe. (shrink)