Theatre as a Transcultural Event: Notes on European Identity

• Published in: The European legacy, toward new paradigms Vol. 29; no. 5; pp. 524 - 532
• Main Author: Haus, Heinz-Uwe
• Format: Journal Article
• Language: English
• Published: Abingdon Routledge 03.07.2024; Taylor & Francis Ltd
• Subjects: Academic staff; Audiences; Communication; Cultural differences; cultural politics; Dialectics; Directing; European identity; European integration; globalization; Identity; Migration; Mobility; Policy making; Theater; transculural theatre; Western values; World War II; Europe
• ISSN: 1084-8770; 1470-1316
• DOI: 10.1080/10848770.2024.2323352

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.