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Brecht: A Practical Handbook by David Zoob (review)

and forth in cultural negotiation.” Each case study illustrates the quagmire of artistic and ethical considerations that must be negotiated when deciding to engage in such performances. Westlake’s text makes it clear that the pendulum model is the best-practice example. Responding to Ong Keng Sen’s concern that he might be appropriating Asian theatre traditions to gain personal recognition, Westlake counters that he is a model of an artist demonstrating a “self-aware use of form . . . conscious employment of tradition . . . and sensitive collaboration with artists from those traditions” (170). For theatre history students and burgeoning artists, these case studies and best-practice models serve as a vital guide to understanding the difference between appropriation and collaboration. Contemporary theatre debates demonstrate that this reflection continues to be a necessary corrective.