Performance, Subjectivity, Cosmopolitanism
Intro -- Acknowledgements -- Contents -- Chapter 1: Setting the Stage: Performing the Divided Self of a New Cosmopolitanism -- The Cosmopolitan Subjectivity of the Divided Self -- Cosmopolitan Theatre: Trying on a New Definition -- On Methodological Considerations -- On the Layout of the Book -- In Lieu of Concluding Remarks -- Bibliography -- Part I: Encounters in Language -- Chapter 2: Dramaturgies of the Self: Staging the Décalage of Vernacular Cosmopolitanism -- Immigration and Multiculturalism in Canada -- Canadian Immigrant Theatre: On Aesthetic and Political Paradigms -- Vinci: On Décalage of I as Other and I as Myself -- Je me souviens: The Décalage of Internal Exile -- Fronteras Americanas: Staging the Décalage of the Border-Crossing -- Trois: On the Heteroglossia of Cultural Décalage -- Sœurs: On the Décalage of Cultural and Technological Mediations -- Bibliography -- Chapter 3: 'Speaking in Tongues': Staging Hospitality of (Non)Translation1 -- On Theatrical Multilingualism and the Practices of Linguistic (Non)Hospitality -- On Vernacular Bilingualism and Theatrical Transcription -- La Trilogie des dragons: On Dramaturgies of Encounter and Relexification -- Betty Quan's Mother Tongue: On the Dramaturgies of Immigrant-Speak -- Polyglotte: On the Dramaturgy of Canada-Speak -- In Sundry Languages: On the Canadian Multilingualism of a Common Space -- Bibliography -- Part II: Encounters in Body -- Chapter 4: Dramaturgies of the Body: Staging Stranger-Fetishism in a Cosmopolitan Solo Performance -- The Body: A Synecdoche of Cosmopolitanism -- Natasha Davis: Staging an Extreme Autobiography of the Divided Self -- On the Embodied Interculturalism of Anita Majumdar's The Fish Eyes Trilogy -- On the Mediated Self of Cosmopolitanism: Wajdi Mouawad's Inflammation du verbe vivre -- Bibliography.