Titlebook: Sidi Larbi Cherkaoui; Dramaturgy and Engag Lise Uytterhoeven Book 2019 The Editor(s) (if applicable) and The Author(s), under exclusive lic

通情達(dá)理

,—Dramaturgy Inviting an Engaged Spectatorship,ents, manipulation, objectification, contortionism and inversion all work towards eliciting affect from spectators. Many dramaturgical strategies developed in Cherkaoui’s later work are introduced in this work. Its postcolonial and ‘Other’ subjectivities, its orally transmitted songs and stories, it

大洪水

Nucleate

FIN

Sinus-Rhythm

HARD

大火

Final Reflections, with the larger, macro-dramaturgical concerns that emerge from this analysis of Cherkaoui’s work. Macro-dramaturgy refers to the ways in which Cherkaoui’s dance theatre can begin to fulfil its potential for social change: political resistance to nationalism and populism, transculturality, transreli

傷心

Thematic Explorations of Religion in , and ,erranean region. The investigation of . centres around the ways in which Cherkaoui choreographs with books to suggest the intertextuality of key religious texts, hence exposing these as man-made and critiquing religious fundamentalisms predicated on ‘the Word of God’.

Hemiparesis

Heteroglossia and Non-translation in ,the ways in which Cherkaoui envisages an ongoing dramaturgical labour on the part of the spectator. By sharing their experiences of the work with cultural Others and through research and continued engagement with the work’s content, can spectators access further layers of the dramaturgy and gain a deeper appreciation of the work.

indigenous

Geopolitical Re-framing of the Nation and Language in ,ate the large aluminium frames; the physical exhaustion derived from a choreographed response to Sufi devotional singing practices; the choreographic exploration of mirror neurons; and the simple interlinking of limbs as a large group each offer ways in which commonness is found through dance and the body.