Intercultural Theatre today (2010)

A comedie performer and stand-up comedian like Fellag (from Algeria) constantly moves from French to Arabic or Berber, depending on the cultural allusions or untranslatable idiomatic expressions or puns. * Theatre in the original language (as in film) is often given subtitles, or rather surtitles, which allows for an original and appropriate reception, while letting the audience hear the original text with the albeit restricting option to read it. * Syncretic theatre uses textual, musical, and visual material which it borrows from several cultures, particularly indigenous cultures which are thus mixed with European forms, and often deal with problems of colonialism or neo-colonialism. * Postcolonial theatre connects the dramatic world and writing, for instance of Derek Walcott or WoIe Soyinka, with the language and the culture of the former colonizer, but also enriches this language and culture. [...]the renewal, or the complete mutation of interculturalism; hence our growing consideration for the phenomena of globalization, our will to think of theatre according to the world which produces and receives it, taking into account its socioeconomic and ethical dimensions. 2) The reflexion on globalization and its impact on theatre allowed us to modify our vision of intercultural performance, which used to be too dependent on the essentialist and often normative conceptions of the 1970s, a vision too obsessed with the legitimacy of representing another culture. 3) The main difficulty today seems to be to find the connection between the work of sociologists and economists on globalization, for instance of Appadurai, and the renewed possibilities of interculturalism in the arts. [...]they are already out of fashion, because they no longer correspond to the evolution of society (at least French or European society). [...]we have to water down our country wine and our 'us us us' culture with some postmodern or relativistic water.