By Jae Kyoung Kim
This pivot examines how the Theatre Olympics, born in 1995, have served to counterpoint each one host country’s tradition, neighborhood, and overseas kinfolk. taking a look at the host country’s political, social, and cultural situations, it considers how the pageant expands the thought of Olympism past its software to the Olympic video games, expressing the spirit of Olympism and interculturalism in every one country’s specific cultural language.
It additionally emphasizes the festival’s improvement over the two decades of its life and the way each one festival’s staging has mirrored the nationwide id, theatre culture, and cultural curiosity of the webhosting state at the moment, in addition to how every one competition director’s creative precept has tried to complete cultural alternate via their productions.
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Additional resources for International Theatre Olympics: The Artistic and Intercultural Power of Olympism
Example text
There is only one bridge which can span the chasm: and the bridge is Art. And in the realm of great Art, there is one whose power is supreme: and that is DRAMA. (quoted in Eva Palmer-Sikelianos 1993, p. 65) While the Delphic Idea, a liberal movement to revive the glory of the Pythian Games, was created by Sikelianos, it was executed by PalmerSikelianos who carried her husband’s idea into action by preparing the Delphic Festivals: the first in 1927 and the second in 1930. Despite its short history, the Delphic Festival signified the revival of the spirit of the Pythian Games in the modern world.
While Suzuki’s international activities in the 1970s and 1980s were typically in Western countries, he expanded his network to include Far Eastern artists in the 1990s by participating in the BeSeTo (Beijing, Seoul, and Tokyo) Theatre Festival, an annual theatre festival of East Asia that he cofounded in 1994. Because of his wide range of experience with Eastern and Western artists, he was able to design a rich, mixed program for the second Theatre Olympics. 3 THE EAST AND THE NATURE 49 THE THEME OF “CREATING HOPE” The second Theatre Olympics set forth “Creating Hope” as the festival theme.
C. In terms of sports, all four Games featured similar characteristics. However, considering their cultural impact, the Pythian Games, which featured a rare combination of music, poetry, and theatre competitions with athletic contest, exemplified the spirit of cultural Olympism more productively than the Olympic Games. The Coubertin definition of 26 INTERNATIONAL THEATRE OLYMPICS Olympism: “the religion of energy, the cult of intensive willpower developed through the practice of virile sports supported by hygiene and civism and surrounded with art and thoughts” (quoted in DaCosta 2006, p.