Abstract
This paper examines the layered and critical ways in which intercultural theatre, which has been constructed at the ?crossroads of culture? (to use Patrice Pavis words), addresses colonial epistemic violence by decentralizing both authorship and geo-political localities. Providing examples from a variety of plays and theatrical productions from Europe, Latin America and Asia, this paper illustrates the representational modalities that intercultural theatre adopts to defy the dangers of political incorrectness and cultural appropriation, and to articulate constructive interchanges at the border of nations, cultures, and races. The paper explores the boldness of intercultural theatre in not shying away from the many confrontations inherent in its very artistic idiom; how it has reached out and embraced the challenges of immigration and post-nationalist society; and how it has established a public workshop where spectators can experience, investigate, and process issues of assimilation, diversity, and identity. These theatrical experiments often deconstruct the unproblematic assumption of globalizations ineluctability by shaping new glocalities, where meaningful political avenues and long-lasting negotiations between culturally diverse groups are built.