Abstract and Keywords
This chapter focuses on theater productions that have crossed the Atlantic. It explores questions, sometimes contentious, about how performance is shaped by overt and covert assumptions concerning the cultural horizons and socio-political perspectives of audiences. This in turn raise issues about the distinctive agendas of writers and producers, including the commercial considerations that underlie festival and global touring productions. The examples analyzed represent cultural traffic across the Atlantic in both directions: Tony Harrison’s Hecuba, Seamus Heaney’s Cure at Troy, and Lee Breuer’s Gospel at Colonus. The discussion also contributes to wider debates about the relationship between aesthetic and contextual aspects of performance and its histories, and of translation. The role of the spectators (actual and imagined) is crucial in negotiating this interface and includes theater critics as well as the bulk of the audience.
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