This book is an interdisciplinary collection of essays that delves beneath the media headlines about the “migration crisis”, Brexit, Trump and similar events and spectacles that have been linked to the intensification and proliferation of stereotypes about migrants since 2015. Topics include the representations of migration and stereotypes in citizenship ceremonies and culinary traditions, law and literature, and public history and performance. Bringing together academics in the arts, humanities and social sciences, as well as artists and theatre practitioners, the collection equips readers with new methodologies, keywords and collaborative research tools to support critical inquiry and public-facing research in fields such as Theatre and Performance Studies, Cultural and Migration Studies, and Applied Theatre and History.

This book explores the use of creative practices, in particular, theatre, as a platform for enabling new research methodologies and spaces in which to practice politics. It offers insights into the use of theatre as a medium to disseminate research to the wider public and extend the terrain of political debate in productive ways. The book explores debates within transnational feminism and transnational justice to offer new perspectives on affect and performance. It also engages with theory on the liveliness of material objects as actors in networks of knowledge production. In particular, the book provides an insight into the travels of a performance script through national and transnational space, as an opportunity to consider a public debate across nations that have intertwined histories and spatialities on the issues of care and need.

Deals with the two great migration waves: from 1820 to the outbreak of World War I, when immigration was nearly unrestricted; since 1950, when mass migration continued to grow despite policy restrictions. Covers north-north and south-north migration, i.e. to the New World and contemporary Europe, as well as south-south migration. Assesses the impact on the migrants themselves, and repercussions on the sending and receiving countries.

This book investigates Ireland’s translation of interculturalism as social policy into aesthetic practice and situates the wider implications of this ‘new interculturalism’ for theatre and performance studies at large. Offering the first full-length, post-1990s study of the effect of large-scale immigration and interculturalism as social policy on Irish theatre and performance, McIvor argues that inward-migration changes most of what can be assumed about Irish theatre and performance and its relationship to national identity. By using case studies that include theatre, dance, photography, and activist actions, this book works through major debates over aesthetic interculturalism in theatre and performance studies post-1970s and analyses Irish social interculturalism in a contemporary European social and cultural policy context. Drawing together the work of professional and community practitioners who frequently identify as both artists and activists, Migration and Performance in Contemporary Ireland proposes a new paradigm for the study of Irish theatre and performance while contributing to the wider investigation of migration and performance.

This third volume in the 4x45 series addresses some of the most current and urgent performance work in contemporary theatre practice. As people from all backgrounds and cultures criss-cross the globe with an ever-growing series of pushes and pulls guiding their movements, this book explores contemporary artists who have responded to various forms of migration in their theatre, performance and multimedia work. The volume comprises two lectures and two curated conversations with theatre-makers and artists. Danish scholar of contemporary visual culture, Anne Ring Petersen, brings artistic and political aspects of ‘postmigration’ to the fore in an essay on the innovations of Shermin Langhoff at Berlin’s Ballhaus Naunynstraße, and the decolonial work of Danish-Trinidadian artist Jeannette Ehlers. The racialised and gendered exclusions associated with navigating ‘the industry’ for non-white female and non-white non-binary artists are interrogated in Melbourne-based theatre scholar Paul Rae’s interview with two Australian performers of Indian heritage, Sonya Suares and Raina Peterson. UK playwrights Joe Murphy and Joe Robertson of Good Chance Theatre discuss their work in dialogue, and with their colleague, Iranian animator and illustrator Majid Adin. Emma Cox’s essay on Irish artist Richard Mosse’s video installation, Incoming, discusses thermographic ‘heat signatures’ as a means of seeing migrants and the imperative of envisioning global climate change. An accessible and forward-thinking exploration of one of contemporary performance’s most pressing influences, 4x45 | Performance and Migration is a unique resource for scholars, students and practitioners of Theatre Studies, Performance Studies and Human Geography.

Dramaturgy of Migration: Staging Multilingual Encounters in Contemporary Theatre examines the function of dramaturgy and the role of the dramaturg in making a theatre performance situated at the crossroads of multiple theatre forms and performative devices. This book explores how these forms and devices are employed, challenged, experimented with, and reflected upon in the work of migrant theatre by performance and dance artists. Meerzon and Pewny ask: What impact do peoples’ movement between continents, countries, cultures, and languages have on the process of meaning production in plays about migration created by migrant artists? What dramaturgical devices do migrant artists employ when they work in the context of multilingual production, with the texts written in many languages, and when staging performances that target multicultural and multilingual theatregoers? And, finally, how do the new multilingual practices of theatre writing and performance meet and transform the existing practices of postdramatic dramaturgies? By considering these questions in a global context, the editors explore the overlapping complexities of migratory performances with both range and depth. Ideal for scholars, students, and practitioners of theatre, dramaturgy, and devising, Dramaturgy of Migration expresses not only the practicalities of migratory performances but also the emotional responses of the artists who stage them.

Theatre and (Im)migration shines a bright light on the impact that immigrant artists have made and continue to make on the development of Canadian theatre, from themes, characters, and world issues to financial structures and artistic techniques. The collection of essays demonstrates how the increased presence of immigrant theatre artists actively contributing to English- and French-Canadian theatre prompt their audiences to rethink fundamental concepts of nationalism and multiculturalism. Contributors include Moira Day, Alan Filewood, Aida Jordão, Ric Knowles, Natasha Martina Koechl, Rebecca Margolis, Lisa Ndejuru, Nicole Nolette, Eleanor Ty, and many more.