A Study of Politics of Culture and Globalization Theory and Practice of American Performing Arts sine 20th Century

本课题是在前些年我在《20世纪美国表演艺术的科学研究资助、文化政治、艺术管理和公共政策理论与实践》的支持下构思和发展的，也关注美国表演艺术中的政治和文化方面。本研究的目的是考察全球化时代特别是纽约世贸中心9111恐怖袭击后美国表演艺术的理论和实践。在进行这项研究时，将涵盖三个主题：1.与美国戏剧领域的恐怖主义暴力有关的机构的代表。2.美国表演艺术中全球化文化的产生和接受3.文化的全球和局部集中与分散及其实际做法。在研究的第一阶段，我重新审视了跨文化主义和杂交性在戏剧和文化领域的概念，以及它们在9·11事件后发生了怎样的变化。我还有机会回应了两篇关于性别暴力的论文，这两篇论文是在我所在大学的COE项目的年度会议上发表的。这给了我一个机会，从代表性的角度重新思考暴力。我给出的回应文件包含在这项研究的装订报告中，我还收集了各种有意进行国际和/或跨文化合作的艺术家的合作作品和作品的实践信息，并采访了这些艺术家(导演、剧作家、艺术总监和经理)，以了解实际的合作过程。我现在正在准备一篇论文，准备在2008年春季举行的比较戏剧协会年度会议上提交。

This project was conceived and developed out of the research which I conducted with the support from Grant-in-Aid for Scientific Research in the previous years, Cultural Politics, Arts Management, and Public Policies Theory and Practice of 20th Century American Performing Arts, which also focused on the aspect of politics and culture in the American performing arts.The purpose of this research was to examine both theory and practice of American performing arts in the age of globalization especially after the 9111 terrorist attack of World Trade Center in New York City.In conducting this research, three topics were set to be covered:1.Representation of the body in relation to the violence of terrorism in the field of American theatre.2.Production and Reception of globalized culture in the American performing arts3.The Global and the Local Centralization and Decentralization of Culture and the actual practice.During the first stages of the research, I have reexamined the concept of interculturalism and the notion of hybridity in the field of theatre as well as culture in general and how they had been shifted after the 9/11. I also had the opportunity to respond to two papers which dealt with violence in relation to gender and were given at the annual conference of COE program at my own university. This gave me a chance to rethink of violence in terms of representation. The response paper I gave is included in the bound report of this research.I also collected information about practices of collaborative works and productions of various artists who are intending international and/or intercultural collaboration and interviewed those artists (directors, playwrights, artistic directors and managers) to find out about the actual collaborative process. I am now in the process of preparing a paper to present at an annual conference of the Association of Comparative Drama which will be held in the spring of 2008.