Abstract

Hegemonic Intercultural Theatre (HIT), the theatrical collaboration between East and West in the most traditional sense, is the most established and dominant form of intercultural theatre today. This essay investigates interrupted cultural flows and the problem of intervention in Eastern HIT, the degrees of interruption and intervention determining the success of the intercultural performance. Two examples, Orlando (2009) and 1433: The Grand Voyage (2010), are used to illustrate the notion of interruption and intervention in intercultural theatre. Directed by Robert Wilson and with casts that included Taiwan's famous traditional artists, both of these performances premiered at the National Theatre in Taipei.

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