MiβGESCHICK: SEVERAL THESES ON THE SUBJECT OF INTERCULTURAL THEATRE SUPPLEMENTED BY SEVERAL KEY EXAMPLES THAT INCLUDE STATIONARY WRITERS, TRANSLATIONS, TRAVELLERS ON FOOT, HORSES, OR VESSELS, AND SEARCH ENGINES

Abstract

The chief problem of previous theses on Intercultural Theatre is that definitions are conceived only in the form of the object, or of contemplation. They are not usually conceived subjectively as sensuous human activity; as practice. Hence, in contradistinction to those previous theses, the current thesis develops actively and participates in its own presentation as a thesis on Intercultural Theatre. However, the limitations of a writer?s participatory role become apparent as the thesis unfolds, since being a writer is different from creating an Intercultural Theatre performance. In light of this, the writer questions the definition of performance and draws several conclusions on the use of metaphor as substitution and trace, which are central to the discourse of Intercultural Theatre. It also opens up the tight definition of Intercultural Theatre as a staged performance to one that includes the scene of writing and as lived experience.

The performance of the thesis thus engages in several examples and utilises several possible metaphors to remobilise the objects of study and understanding of the given field. It participates actively in a perpetual re-definition of terms. Sometimes it fails to perform adequately. Sometimes it offers possibilities to co-participate in the making of the discourse. As such, it sends out its messages so that you the reader may receive a message contrary to its first intentions. With this in mind, the thesis functions only if there is a correspondence, a co-habitation of more than one participant in the performance. It is an attempt to situate a place to project a future outlook on the field of Intercultural Theatre and beyond - made possible only by a Mi?geschick, an accident, an anticipation of a next-thing-to-come.