The master's thesis discusses the topic of intercultural theatre in Slovenia, focusing on the traditional Japanese Nō theatre and Slovenian productions of its plays: Obisk/The Visit (1997), Veter v vejah borov/Wind in the Pine Branches (2009) and Moderne nô drame/Modern Nō Dramas (2014). In the theoretical section of the thesis, we presented some definitions of intercultural theatre and focused on the positive and negative aspects of intercultural exchanges in theatre. We examined more thoroughly in what way intercultural theatre is present in Slovenia, and when and how Eastern (Asian) theatre traditions emerge in our country. We delved into the complexity of the traditional Japanese Nō theatre, looking for political, social and cultural influences on its creation. We studied the philosophical background of the Nō theatre, and the impact of Zen Buddhism and its doctrines on this theatre. Lastly, we presented the characteristics of the Nō theatre: the texts, stories, and characterization of the content of Nō plays. We also presented its key elements: masks, costumes, props, the stage, music, dance, and actors.
In the empirical section of the thesis, we examined the expert reviews of the theatrical productions of the plays The Visit, Wind in the Pine Branches, and Modern Nō Dramas. Using a video archive of the above-mentioned plays and the set criteria, we looked for direct connections between the traditional Japanese Nō theatre and Slovenian productions of Nō plays. As it turns out, the Slovenian creators Meta Hočevar, Jernej Lorenci and Mateja Koležnik followed the tradition of the Japanese Nō theatre while incorporating elements of their own Western European culture into the productions. Thus, all Slovenian productions can serve as a good example of collaborative intercultural exchanges, as Eastern (Japanese) and Western (Slovenian) culture are presented equally in these productions.
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