Imitational theatre

The intended audience is from the same culture, or a foreign audience from a different culture and the theater group, or the actors or performers, come from the same cultural background or from very diverse foreign cultural backgrounds. The production may imitate foreign styles, the production procedures may introduce new techniques, a new style of acting or a new style of presentation for a group of actors from various cultures or the same culture, the production may include foreign languages, costumes, scenic themes and other aspects. There are many examples of intercultural theatre groups, people, and institutions who are experimenting with various levels of mixing and matching of traditional or contemporary aspects of theatre training and presentations in this type of Imitational Theatre.

After the global acceptance of renowned theatre director Peter Brook, many theatre directors went after Asian traditional theatre art forms and other Asian representational systems, in order to develop and portray their own theatre presentations using, or somehow capitalizing on the actor training systems and scenic representations belonging to those particular Asian theatres, such as the Noh theatre, Kathakali, Chinese opera etcetera. While Peter Brook was successful in his approach to a universally accepted vision of theatre-making through the Asian theatre systems --beyond the parameters of imitating different theatrical topics-- many other younger institutions or directorial approaches are kept within the parameters of imitations or comparisons, or only exchanges of physical exercises.

Adaptive theatre

There are two types of intercultural theatre within adapted theatre. One can consider "the norm" to represent what the audience of a certain culture expects/has typically been exposed to:

• Adapts to the norm – traditional style productions that have been consciously adapted to fit with the cultural expectations of the intended audience of another culture.
• Adapts away from the norm – the original culture dominates but it borrows foreign elements to enlarge the range of expression (e.g. TheatreWorks (Singapore) and Ong Keng Sen; International Centre for Theatre Research and Peter Brook; and The Bridge – Stage of the Arts)

Universal theatre

The aim of universal theatre is to be recognized and accepted by audience members from a wide range of cultural backgrounds (e.g. The Mahabharata, Peter Brook, Hiroshi Koike Bridge Project- The Mahabharata,^[6] Bari Hochwald The Global Theatre Project,^[7] The World Theatre Project, People's Theatre Project etc.)

American intercultural theatre

• For many theatre cultures, American intercultural theatre has given the possibilities of new exchanges, experiments, researches and pioneer introductions of model attempts in theatre making. There are many directors, teachers or theatre artists began working with the sources of American point of views in the intercultural attempts and some of them are Richard Schechner, Phillip Zarilli, Robert Wilson, Christian DuComb Phd, Prof. Esther Kim Lee, Ellen Stewart-La MaMa, Lee Breuer-Mabou Mines, Hugh Gittens, Anne Bogart, Philip Glass etc.

Australian intercultural theatre

British intercultural theatre

Canadian intercultural theatre

African intercultural theatre

Brazilian intercultural theatre

Chilean intercultural theatre

Chinese intercultural theatre

• Chinese Shakespeare
• Chinese Greek Tragedy

Finnish intercultural theatre

^[8]

French intercultural theatre

German intercultural theatre

Greek intercultural theatre

Hungarian intercultural theatre

Indian intercultural theatre

Iranian intercultural theatre

Irish intercultural theatre

Japanese intercultural theatre

Jewish intercultural theatre

Korean intercultural theatre

Adaptations of Shakespearian works such as 'Hamlet' with traditional Korean elements

Malaysian intercultural theatre

Mexican intercultural theatre

Singaporean intercultural theatre

Directors

• Intercultural theatre director

Intercultural theatre director is a stage director/instructor specialized in the intercultural theatre field who oversees every creative aspects of occupation towards a theatre production (text based play, non-text based play, myths & stories, adaptation of a play or a devised piece of artistic work) through the medium of exchange or borrowing diverse elements from less known culture, practice mixing or collaborating with one or plural different well-known cultural elements or practices and vice versa to have quality and completeness in the realization. The intercultural director will lead the creative members of the team to achieve his/her artistic vision for the production and objectively collaborate with the various mixing elements of performance,^[9] classical drama, Forms of drama, Twentieth-century theatre, literature, languages, translations, music, stage craft, costume design, acting, acting techniques, props, stage combat, set design and light design for the intercultural production.

Actors

Spectators

Contents

Contexts

Locations

Scholars

• Intercultural theatre scholars are the experts working with intercultural theatre creations for several years of practical and theoretical experiences in productions, teachings, performing arts etc.

Critics

• Intercultural theatre critics are the experienced scholars who have many years of academic scholarships and direct relations with the each details of culture, civilization, practices. They are capable to inform, debate, talk, analyze and write about what commonly not presented or re-presented on the table.
• Patrice Pavis French-UK theatre scholar,
• Min Tian central academy of drama in Beijing, China^[10]
• Rustom Bharucha Indian theatre critic, India^[11]
• Marcus Cheng Chye Tan, Singapore theatre scholar