This doctoral thesis proposes an ethics of intercultural theatre, offering a materially engaged framework through which to approach both the problematics and positive potential of intercultural practice. Framing intercultural debates in terms of rights of representation, it suggests that the right to represent Othered people and cultures can be strengthened through 1) involvement of members of all represented cultures, 2) equality and creative agency of all collaborators, 3) advantageousness of a given project to all involved, and 4) positive socio-political effects of a production within its performance contexts. Working through four diverse case studies – Tim Supple's A Midsummer Night's Dream, Pan Pan Theatre Company's The Playboy of the Western World, Peter Brook's 11 and 12 and Bisi Adigun and Roddy Doyle's The Playboy of the Western World – this project uses a Bourdieusian theoretical framework to flag elements of contemporary intercultural practice that strengthen and weaken rights of representation. It recognises that Orientalist and Eurocentric modes of representing Otherness still require address; equally, it points to laudable working practices, moving towards a pragmatics of best intercultural theatre practice.

The main aim of this theses is to explore current academic discourse about multiculturalism and to evaluate these theories. Then the second aim is to compare and contrast the theory and the reality in Quebec and Canada, the possibility of the national identity survival is examined.

The main issue of this diploma work is the problem of migration and immigrants' position in the czech society. The way out and the theoretical background is mainly to define the concept of migration and it's historical concept, the basic approaches to migration and migration theory are also included. Futher aim of this work is presenting the vision of interculturalism and multiculturalism and their effect on society. This entire work is conceivede as theoretical-empirical, so it is supplemented by survey research on the situation of migrants in society. The main objective of this work is survey to represent the look of students on the topic of migration and their comparison with accessible immigration polls from the Czech Republic and Great Britain. Keywords: the migration, the interculturalism, the interculturalism, the poll

Discutimos nesta pesquisa o uso dos elementos de Cortesia, em especifico, a atenuação, entendida como categoria pragmática que afeta as relações interpessoais enquanto atividade linguística (redução do dito e do dizer) e social (aproximação ou não distanciamento do outro). Enfatizando estes aspectos, o trabalho tem como objetivo comparar o emprego de procedimentos linguísticos de atenuação na produção de atos diretivos e respostas não preferidas (atos de fala não corteses), por estudantes universitários das cidades de São Paulo (Brasil) e Córdoba (Argentina). Ainda, explicar as diferenças tendo como base os conceitos de sociedades de aproximação e distanciamento (HAVERKATE, 2004 e BRIZ, 2007) e analisar as diferenças nas interpretações que realizaram os estudantes da cidade argentina dos enunciados formulados pelos paulistanos. Nesta investigação, formulou-se e aplicou-se questionário de coleta de dados denominado testes sociais no qual apareceram situações de interação no ambiente de trabalho e da faculdade. No processo analítico deste fenômeno, usamos o método comparativo salientando as relações quantitativas e qualitativas dos enunciados estabelecidos pelos paulistanos e cordobeses, analisando dois tópicos, a comparação dos procedimentos de atenuação empregados; e a interpretação dos enunciados (dos estudantes paulistanos) feita pelos alunos de Córdoba. Como resultado, verificamos o uso acentuado de procedimentos de atenuação por parte dos paulistanos, causando interpretações díspares por parte dos cordobeses. / Discussed in this study the use of Courtesy elements in specific, attenuation, understood as a pragmatic category that affects interpersonal relationships as linguistic activity (reduction of said and say) and social (approximation or not distancing from another). Emphasizing these aspects, the study aims to compare the use of linguistic attenuation procedures in the production of directive acts and not preferred answers (speech acts not polite), for university students from São Paulo (Brazil) and Córdoba (Argentina). Also explain the differences based on the concepts of proximity and distance in social interactions (HAVERKATE, 1994 and BRIZ, 2007) and analyze the differences in interpretations that made by students of Córdoba city from statements made by students of São Paulo. In this investigation, it is formulated and applied data collection questionnaire called social tests in which appeared interaction situations in the workplace and college. In the analytical process of this phenomenon, we use the comparative method emphasizing the quantitative and qualitative relationships of statements established by Paulistanos and Cordobeses, analyzing two topics, the comparison of attenuation procedures used and the interpretation of these statements (of São Paulo students) made by students of Cordoba. As a result, we see the vast use of mitigation procedures on the part of São Paulo, causing differing interpretations by the students of Córdoba.

This inquiry was prompted by a desire to understand ‘partnership working’ (DfE, 2012, p.3) with the diverse parental body of a British International School Pre-Nursery based in Bangkok. It was hypothesised that this necessitated the co-construction of a shared understanding between home and school about a child’s learning. Nonetheless, the manner in which this could be achieved was unclear. Consequently, an explorative case study was instigated to gain a greater understanding of home-school interactions within this context. Influenced by Early Years policy and literature, as well as concepts of dialogue and interculturalism, it was hypothesised that involving parents within the redevelopment of a reporting and assessment tool may support the co-construction of a shared understanding about the child as a learner. Accordingly, a series of parental meetings were organised to elicit parental views. The parental meetings were illuminating and prompted the adaptation of a range of tools and artefacts to scaffold parents into a greater understanding of Pre-Nursery pedagogy and to engage them in a learning dialogue with school. At the completion of the study, evidence indicated that the development of a shared understanding between home and school had been achieved. This suggested that integrating conceptions of scaffolding and co-construction within home-school communication enhanced the potential for partnership working. Nonetheless, the complexities of engaging with the diverse parental body found within international education were also highlighted. In addition, the inquiry highlighted the difficulties of sustaining and extending practice innovations. It was concluded that further research may be necessary to fully understand partnership working within this context and to develop the consistent whole school approach deemed necessary to support its implementation.

This thesis investigates the role of drama in the intercultural education of young people. It considers the relationship between the fields of drama education, intercultural performance and ethnography. The drama curriculum is explored as a site of intercultural learning and performance pedagogy. The thesis also examines the place of ethnography as an embodied, participatory practice in intercultural drama pedagogy and performance research. The study is placed in a context of international exchange and cultural pluralism, and is framed by debates about intercultural performance and the appropriation and representation of cultural narratives. This investigation of interculturalism within the drama curriculum is grounded in an ethnographic study conducted in Melbourne, Australia in a multicultural secondary school community. The study documents the experiences of approximately forty young people who participated in an African drama and performing arts project called ‘The Gods Project’. ‘Jean’, a Kenyan performing artist who was undertaking a two-year residency in the school, led the intercultural performance project. Participants were involved in drama and performing arts workshops, an ‘African’ creative arts camp and a performance of a play, The Gods are not to Blame, by Nigerian playwright Ola Rotimi. The interpretative account of the project draws on ethnographic data from the first year of Jean’s residency in the school and six months of intensive fieldwork in the second year of her residency. It also includes longitudinal data that was collected from a group of participants up to four years after the project. I collaborated with Jean and with a group of senior students, who volunteered to be ‘student co-researchers’, to record and analyse the diverse experiences of participants in The Gods Project and to interpret its educational, social, and aesthetic impact within the school context. Jean’s pedagogy of intercultural story telling within the drama classroom and her role as a ‘cultural guide’ throughout the project was explored. As a participatory ethnographic researcher, drama educator and ‘assistant director’, I worked alongside Jean and the students as they played with, talked about, resisted, created, adapted, subverted, embodied and performed intercultural performance texts. Drawing on Turner (1982) and Schechner (1988), I conceptualised The Gods Project as an intersecting social and aesthetic drama. The phases of ‘social drama’ and ritual were used as a framework for the data analysis and as a structure for the narrative account of the project. Turner’s concepts of the ‘liminal/liminoid’ and ‘communitas’ were applied to the participants’ experiences at the creative arts camp and within the workshop and performance space. ‘Dark play’ was identified as the young people’s response to the difficult social drama they were involved in; their subversive play provided a way to engage with the ‘strangeness’ of the cultural material and the play’s ‘dark’ story and themes. The participants’ dramatic play informed the emerging aesthetic drama and facilitated their intercultural meaning making. The students’ efforts to make sense of and interpret a performance text embedded in a Yoruba context resemble the task of an ethnographer attempting to understand and represent socio-cultural experiences. The study demonstrates that through a process of collaborative ‘intercultural reflexivity’, ethnography can enhance intercultural drama education. The pedagogical features of The Gods Project are related to Turner’s concept of performance ethnography and the role of a ‘cultural guide’ in intercultural teaching and learning is highlighted. With the guidance of their Kenyan teaching artist many of the young people engaged with different socio-cultural perspectives, actively explored new cultural performance conventions and art forms, and experienced the complexities of intercultural representation. The study reveals evidence of significant social, personal, intercultural and artistic learning outcomes for participants within this school-based performance project. However, the study also reveals the difficulties and challenges of implementing an innovative intercultural project within a school context. It demonstrates that kinaesthetic, playful, embodied and performative experiences are central to intercultural teaching and learning.

Intercultural theatre is a highly contested form of theatre. Critical discussions over its position as a revitalizing force or a colonial instrument have raged on for almost thirty years. An investigation into two theatre directors who have often been in the spotlight concerning these critical discussions, French theatre director, Ariane Mnouchkine, and Japanese cult icon, Shji Terayama, will illuminate the possibility of moving beyond such oppositions. Both have employed Asian theatre techniques and aesthetics, specifically Japanese, to produce highly theatrical performance events which actively engage their spectators. However, their methods vary from elegant integration to confrontational provocation. An extensive exploration into both artists prolific theatre, and the established theories concerning the process of creating intercultural theatre postulated by a range of theorists including, Patrice Pavis, Rustom Bharucha, Jacqueline Lo and Helen Gilbert, will reveal a fresh look at interculturalism where cross-cultural theatre exists on a continuum.

This paper examines the development of the Zinneke Parade, a new intangible heritage project in Brussels. Using an interdisciplinary approach which encompasses heritage studies and multicultural studies, it analyses the processes and aims of the parade. With rising globalisation and the corresponding fragmenting of societies has come the many legitimacy claims of identity politics. The resulting growth of multiculturalist and interculturalist approaches in ethnoculturally diverse societies and increased pluralism in heritage projects form the background of the Zinneke Parade. Through narratives gathered from interviews and promotional materials, this paper discusses how Zinneke manifests both interculturalist and pluralist heritage approaches.

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Intercultural communication addresses some of the apparent challenges that surface from interactions among diverse people. The concept stretches beyond language and dialect barriers and includes the ways in which culture influences how people understand, create and respond to communication depending on where they are from, their life experiences, social structure, ethnicity, religion, education, occupation, and so on. This research acknowledges that culture is a broad and difficult to define concept because it influences individuals and groups in different ways, especially in an era of globalization. Through an exploration of literature, semi-structured interviews and a focus group, and applying the concept of intercultural communication to active planning practice, the research examines how a sample of Winnipeg planners learn and practice such intercultural communication. Their perspectives on this practice are then considered in the context of collaboration, where it is concluded that intercultural communication competencies can directly foster collaboration. The practice has potential benefits for the many diverse publics that now need to be better served through planning processes. Intercultural communication is an important practice of planners in culturally diverse cities such as Winnipeg because planners often find themselves in intermediary 'bridging' roles among diverse cultures. It is confirmed that intercultural communication requires a necessary set of competencies, values and skills that must influences one's planning practice.