Conclusion

Abstract

This book evaluates the Theatre Olympics’ intercultural achievement as an international theatre festival. While pursuing a common goal to recover humanistic and spiritual associations, each festival presented different dimensions of intercultural exchanges based on each artistic director’s philosophy, each host country’s culture, and each festival’s different support groups. The history of the Theatre Olympics shows a double-edged sword as the festival both increases nationalism and internationalism. And the cultural Olympism might function to make a balance between nationalism and internationalism. What remains key to the future success of the Theatre Olympics is the encouragement of a dynamic, festive—but still voluntary—participation among theatre artists that arises from intercultural exchange.