Descrição
This paper analyzes the dialogue between Edward Gordon Craig and Ananda Coomaraswamy, a historian of Indian art, as the launching point of the investigative universe known as intercultural theatre, and the consequences of this dialoguein the thought of the British director, challenging his creation of the Über-marionette. From this dialogue, the text presents Gordon Craig’s cautious stance on trade between cultural traditions. Those inherent idiosyncrasies in these exchanges, which populated the research throughout the 20th and early 21st centuries, are problematized in this article. The debate’s cyclical aspect is exemplified, recovering the clash between Rustom Bharucha, severe critic of Western attempts to Interculturalism, and Richard Schechner, one of the mentors of intercultural theatre.||L’article examine le dialogue entre Edward Gordon Craig et Ananda Coomaraswamy, historien de l’art indien, comme point de départ de l’univers d’investigation connu sous le nom de théâtre interculturel et les conséquences de ce dialogue dans la pensée du metteur en scène anglais, contestant sa création de la sur-marionnette. A partir de ce dialogue, le texte présente la position prudente de Gordon Craig concernant les échanges entre traditions culturelles. Sont interrogées les idiosyncrasies inhérentes à ces changes, qui ont peuplé la recherche tout au long du XXe siècle et au début du XXIe. L’aspect cyclique du débat est illustré par la confrontation entre Rustom Bharucha, critique sévère des tentatives occidentales d’interculturalisme, et Richard Schechner, l’un des mentors du théâtre interculturel.||This paper analyzes the dialogue between Edward Gordon Craig and Ananda Coomaraswamy, a historian of Indian art, as the launching point of the investigative universe known as intercultural theatre, and the consequences of this dialoguein the thought of the British director, challenging his creation of the Über-marionette. From this dialogue, the text presents Gordon Craig’s cautious stance on trade between cultural traditions. Those inherent idiosyncrasies in these exchanges, which populated the research throughout the 20th and early 21st centuries, are problematized in this article. The debate’s cyclical aspect is exemplified, recovering the clash between Rustom Bharucha, severe critic of Western attempts to Interculturalism, and Richard Schechner, one of the mentors of intercultural theatre.
