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Tambours sur la Digue (review)

Tambours sur la Digue (review) Production Review TAMBOURS SUR L A DIGUE. By Hélène Cixous. Directed by Ariane Mnouchkine. Théâtre du Soleil, Paris, September 18, 1999. Ariane Mnouchkine has long been associated with a stunning directorial style incorporating aspects of Asian performance techniques. Inspired by Artaud's dictum that "the theatre is oriental," she infuses Western realism with the seductive color, passion, spectacle, and physical discipline of non-Western and premodern theatrical genres. In addition, she is committed to theatre that is politically progressive, feminist, antiestablishment, communally created, and financially accessible to all members of society. Mnouchkine terms her work "imaginary kabuki" because she is interested neither in authentic re-creation nor in culturally correct representation. She has said: "We are not resuscitating past theatrical forms, commedia dell'arte or Chinese theatre. We want to reinvent the rules of the game which reveal daily reality, showing it not to be familiar and immutable but astonishing and transformable" (quoted in Adrian Kiernander, Ariane Mnouchkine and the Théâtre du Soleil [1993], p. 89). As early as 1961, she directed Genghis Khan by Henri Bauchau. Like much of her later work, GenghisKhan offered a morally ambiguous portrait of a powerful man presented in an imaginary "Asian" performance style. After touring http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

Tambours sur la Digue (review)

Asian Theatre Journal , Volume 19 (1) – Mar 1, 2002

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Publisher
University of Hawai'I Press
Copyright
Copyright © 2002 The University of Hawai'i Press.
ISSN
1527-2109
Publisher site
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Abstract

Production Review TAMBOURS SUR L A DIGUE. By Hélène Cixous. Directed by Ariane Mnouchkine. Théâtre du Soleil, Paris, September 18, 1999. Ariane Mnouchkine has long been associated with a stunning directorial style incorporating aspects of Asian performance techniques. Inspired by Artaud's dictum that "the theatre is oriental," she infuses Western realism with the seductive color, passion, spectacle, and physical discipline of non-Western and premodern theatrical genres. In addition, she is committed to theatre that is politically progressive, feminist, antiestablishment, communally created, and financially accessible to all members of society. Mnouchkine terms her work "imaginary kabuki" because she is interested neither in authentic re-creation nor in culturally correct representation. She has said: "We are not resuscitating past theatrical forms, commedia dell'arte or Chinese theatre. We want to reinvent the rules of the game which reveal daily reality, showing it not to be familiar and immutable but astonishing and transformable" (quoted in Adrian Kiernander, Ariane Mnouchkine and the Théâtre du Soleil [1993], p. 89). As early as 1961, she directed Genghis Khan by Henri Bauchau. Like much of her later work, GenghisKhan offered a morally ambiguous portrait of a powerful man presented in an imaginary "Asian" performance style. After touring

Journal

Asian Theatre JournalUniversity of Hawai'I Press

Published: Mar 1, 2002

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