Titlebook: Interculturalism and Performance Now; New Directions? Charlotte McIvor,Jason King Book 2019 The Editor(s) (if applicable) and The Author(s)

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“Recognize My Face”: Phil Lynott, Scalar Interculturalism, and the Nested Figurend as it occurs beyond aesthetics. I extend a politics of scale to cultural production and performance, arguing that performances originating from lower scales (such as the self, the community, and the emergent) have the political potential to challenge or complicate hegemonies emanating from higher

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Intercultural Performance Ecologies in the Making: Minor(ity) Theatre and the Greek Crisiss to interrogate the currency of emerging intercultural performance ecosystems and/or new interweaving performance cultures in contemporary performances of the refugee and migrant condition on the contemporary geography of the Greek hybrid minor stage and society. At the intersection between Europea

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“The Future Market and the Current Reality”: Zaimoglu/Senkel’s , and Interculturalism in the German l theatre” differ from making theatre in an “intercultural society”? This chapter explores these questions with reference to the emergence of “postmigrant theatre” in Germany, and particularly Feridun Zaimoglu and Günter Senkel’s . (.). This controversial semi-documentary play about Muslim women pre

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Intercultural Dialogue as ‘New’ Interculturalism: Terra Nova Productions, the Arrivals Project and towles and Leo Cabranes-Grant. I use the concept of an “intercultural performative” to theorize how the European Union’s vision for intercultural dialogue as the key process through which to integrate majority and minority ethnic communities (particularly those with backgrounds of migration) by meeti

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