Conference Philanthropy, Development and the Arts: Histories and Theories (23-25 July, 2018), Final Programme

The final programme of our conference Philanthropy, Development and the Arts: Histories and Theories is now online and can be accessed here: Philanthropy Conference_23-25 July 2018_ final programme

dates:

Monday, 23 July, 5pm –

Wednesday, 25 July, 5:30pm

conference venue:

Carl Friedrich von Siemens Stiftung – Südliches Schlossrondell 23 –80638 Munich

Keynote speakers:

Monday, 23 July, 6pm:

Volker Berghahn (Columbia University, New York City): American Foundations, the Arts, and high Politics (1898–2018)

Tuesday, 24 July, 11am:

Inderjeet Parmar (City University of London): Foundations of the US-led Liberal International Order: From the ‚Rise to Globalism‘ to ‚America First‘

Registration is mandatory. Please register via e-mail to Gwendolin Lehnerer indicating your name and affiilation: gwendolinlehnerer@yahoo.com

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#philanthropyconference2018 #DevelopingTheatre #PhilanthropyMunich #GTHCentre 

Eine Theaterlandschaft für Belgrad: Marija Đokić verteidigt erfolgreich ihre Dissertation

Marija Đokić, Doktorandin der Graduiertenschule Ost- und Südosteuropastudien der LMU und assoziiertes Mitglied des Centre for Global Theatre History, hat gestern erfolgreich ihre Dissertation verteidigt.

Ihre Schrift Eine Theaterlandschaft für Belgrad (1841–1914), ist ein essentieller Beitrag zur Theatergeschichte Serbiens und zur globalen oder transnationalen Theatergeschichte, die verstärkt Kulturtransfers in den Blick rückt. Über die vergangenen Jahre hat Marija, die in Belgrad und in München Geschichte studierte, einen beeindruckenden Quellenkorpus in unterschiedlichen Archiven Serbiens zusammengetragen, um anhand von Theater, das seit der Ernennung Belgrads zur neuen Hauptstadt Serbiens 1841 eine eminent wichtige Rolle spielte, das Wechselspiel zwischen dem Schaffen einer nationalen Identität und Prozessen der „Europäisierung“ herauszuarbeiten.

Grund zum Feiern ihrer erfolgreichen Dissertation. Marija Đokić und Nic Leonhardt (GTH Centre) Foto: C. Balme)

„Das Projekt beschäftigt sich vor allem mit verschiedenen Kulturtransfers in Belgrad in der zweiten Hälfte des 19. Jahrhunderts. Ziel ist es zu untersuchen, welche Theaterangebote in Belgrad existierten, wie diese organisiert wurden, welche kulturelle Größen beziehungsweise Staaten dabei als Vorbilder ausgewählt wurden. Verschiedene Formen von Theaterinstitutionen sollen untersucht werden: vom osmanischen Karagöz über das Nationaltheater bis hin zu privaten Boulevardbühnen, die denen europäischer Hauptstädte ähnelten. In meinem Dissertationsvorhaben steht die Theatergeschichte einer Stadt im Vordergrund, die aber in einem größeren kulturellen Raum betrachtet werden muss. Ein besonderes Augenmerk gilt dabei den Theaterakteuren wie Direktoren, Schauspielern und Autoren, die zum großen Teil transnational agierten, was die Untersuchung von Kulturtransfers in besonderem Maße ermöglicht.“

Wir freuen uns sehr für Marija und gratulieren ihr sehr herzlich. Auf das Buch freuen wir uns  jetzt schon, dessen Erscheinen wir selbstverständlich hier ankündigen werden.

 

 

5 Kontinente und eine Welt – Welt/Bühnen-Premieren am Residenztheater

Es ist ein künstlerisches Experiment, ein kuratorischer Dreh und kreiert neuartige Formen des Teilens, Tauschens und Austauschens im Theaterbetrieb: das Residenztheater München bespielt, maßgeblich initiiert und seit der Spielzeit 2016/17 vorangetrieben durch Dramaturgin Laura Olivi und in Zusammenarbeit mit dem Goethe-Institut, das Format der „Welt/Bühne“. Der Schwerpunkt liegt hier auf einer internationalen Dramatik. Warum? Unsere Welt ist in einer Weise vernetzt wie nie zuvor. Wir reden von und sind Mitspieler in globalisierten Welten, transnationalem Austausch und Transfer. Den Künsten kommt in diesem Geflecht eine wesentliche Rolle bei. Welche Rollen aber lassen sich der Dramatik in diesem Gefüge zuschreiben? Wie können wir sie global denken, können wir vernetzt schreiben?

Am 23. und 24. Juni, finden im Marstall in München gleich 5 Uraufführungen statt, Weltpremieren von 5 Autorinnen und Autoren aus 5 unterschiedlichen Kontinenten.

Ein Gremium von Theaterschaffenden, Kulturbeauftragten und Theaterwissenschaftlern hatte sich Ende 2016/2017 auf die Suche nach viel versprechenden Nachwuchs-Dramatikern in verschiedenen Teilen der Welt gemacht, nach „emerging voices“ ihrer jeweiligen Herkunftsländer, die Interesse an einer internationalen Schreibwerkstatt und -Workshops und an einem Austausch über die unterschiedlichen Theaterlandschaften, für die sie für gewöhnlich schreiben, hatten.

„Eine Welt? eine Generation? eine Zukunft?“, waren implizite Leitfragen. Wie sehen, wie beschreiben, wie bespielen junge Autoren diese Fragen? Und wie ließe sich dieser Diskurs in einen gemeinsamen Theaterabend gießen?

5 Autorinnen und Autoren wurden ausgewählt: Susanna Fournier (Kanada) – Zainabu Jallo (Nigeria) – Maria Milisavlević (Deutschland) – Santiago Sanguinetti (Uruguay) – Pat-To Yan (Hongkong).

Erster Workshop der internationalen Schreibwerkstatt im November 2017 auf der Probebühne des Residenztheaters. Foto: Konrad Fersterer für das Residenztheater (www.konradfersterer.com)

In einem ersten Workshop-Wochenende im Herbst 2017, an dem auch Nic Leonhardt und Christopher Balme (Theaterwissenschaft der LMU, Centre for Global Theatre Histories) moderierend und beratend beteiligt waren, kamen wir mit den Autoren zusammen, gemeinsam mit Dramaturgen des Residenztheaters, der Bayerischen Theaterakademie August Everding, Vertretern des Goethe-Instituts.

Was treibt uns an und um, für wen schreiben wir? Welche überlappenden Themen lassen sich finden? Während des Wochenendes fand ein reger Austausch statt, Impulsvorträge, gemeinsame Ausstellungs- und Theaterbesuche, Besichtigungen der Bühnen des Bayerischen Staatsschauspiels und Lesungen. Und am Ende der drei Tage stand die Frage: wer könnte mit wem schreiben, zusammenarbeiten? Welche Themen wirken wie Brücken zwischen den individuellen Arbeiten und Stilen? Welche Struktur könnte der anvisierte gemeinsame Theaterabend haben?

Über das folgende Vierteljahr verfassten die Autorinnen und Autoren erste Teile ihrer Theatertexte. Ein zweiter Workshop im Februar brachte dann die fertigen Texte, ihre Verfasser sowie Dramaturgen, Regisseure und die Partner des Goethe-Instituts sowie die genannten Vertreter der Münchner Theaterwissenschaft erneut zusammen. Bühnenbildner Maximilian Lindner präsentierte sein Bühnenbild-Konzept, Regisseure und mögliche Besetzungen wurden vorgestellt.

Zweiter Workshop der internationalen Schreibwerkstatt auf der Probebühne des Residenztheaters im März 2018. Bühnenbildner Maximilian Lindner stellt sein Konzept vor. (Foto: Christopher Balme)

Die Autoren verfassten ihre Stücke auf Englisch und Deutsch. Für die Uraufführungen in München wurden sie ins Deutsche übersetzt, mit Bewahrung der englischen Originale in Übertiteln.

Was als Begegnung begann, schlug sich in den Stücken nieder, findet den Weg auf die Bühnen und berührt mehr als nur 5 Kontinente.

Die Website des Residenztheaters dokumentiert facettenreich in Fotos, Videos und kurzen Texten die Arbeit der Welt/Bühne.

Die Stücke werden am 23. + 24. Juni Marstall zur Ur-Aufführung kommen:

Susanna Fournier: antigone lebt*

Zainabu Jallo: White Elephants

Maria Milisavlević: Auf ewig unser Gestern

Santiago Sanguinetti: Bakunin – ein anarchistisches Stück

Pat To Yan: Bis ans Ende ihrer Tage

Kooperationspartner: 

Bayerische Theaterakademie August EverdingFreunde des ResidenztheatersGoethe-InstitutInstitut für Theaterwissenschaft der LMU MünchenResidenztheater München.

Sharon Lehner, Guest of GTHC, on Emerging Performance Archives (13 June, 12-1:30pm)

On Wednesday, 13 June, Sharon Lehner (Brooklyn, New York), currently guest of the Centre for Global Theatre Histories, will be talking about her work at the HAMM Archives of the Brooklyn Academy for Music in Brooklyn (BAM), N.Y.

Her talk, Emerging Performance Archives, is taking place in the context of the colloquium of the Department of Theatre Studies (TWM) at LMU Munich

Time: Wednesday, 13 June, from 12 (sharp) to 1:30pm.

Venue: room #109, Theatre Studies Munich, Georgenstrasse 11, 80799 Munich

The event is open to the public. Registration is not required.

Abstract

Performance is an ephemeral, impermanent experience. It is also typically collaborative, formed from a web of people, their relationships and ideas. Collecting and describing performance is fundamentally different from describing a physical object. That static repository model– archives as dusty, 19th century curio cabinet–has been replaced by a more contemporary living archive. A recent Google search for “Living Archive” brought up many thousands of hits. The term, appropriated by numerous disciplines, describes everything from open data projects in computer science programs to Asian Art Museums. While the use of the term Living Archive is applied differently across these projects, all seem to crave live-ness and who understands this better than those who create performance? Performance archives mirror the collaborative process they describe, creating webs of knowledge that can be connected back to the original event. Archiving performance is also practical, working with a dizzying array of media to collect, organize, describe, preserve, and make available objects related to performances, history, and people. We work with creators, performers, designers, photographers, videographers, subject area specialists, and numerous others. The process is open and creative, with discussion about how best to document and share work. Performing artists already understand the limits of representation and the power of embodied experience. In performance archives we attempt to reflect the complexity.

Biographical Note

Sharon Lehner has directed the BAM Hamm Archives in Brooklyn, New York since 1999. She holds degrees in Performance Studies and also in Historical Editing and Archival Management from New York University and has presented at conferences and published in both disciplines. She has served as a consultant to performance archives and acted as advisor to the Pina Bausch Archives from 2009-2017.  Recent projects include the launch of The Leon Levy BAM Digital Archive, an encyclopedic resource documenting the history of BAM, In Terms of Performance at BAM, Co-produced by BAM, the Pew Center for Arts & Heritage, and UC Berkeley, an interactive installation exploring the terms that describe contemporary art and performance. Most recent publications include How to Create an Archive? Inheriting Dance: An Invitation from Pina ([transcript] Press, Verlag 2014) Forthcoming, BAM: The Next Wave Festival edited by Susan Yung and Steven Serafin and interview in the Routledge Companion to Digital Humanities in Theatre and Performance edited by Dr. Nic Leonhardt

 

 

Conference „Philanthropy, Development and the Arts“ (23-25 July): preliminary programme online

From 23–25 July, the ERC project Developing Theatre will hold its first international conference at the Carl Friedrich von Siemens Stiftung. International scholars of disciplines such as international relations, art studies, performance studies, and history as well as representatives of foundations and museums will gather in Munich for discussing Philanthropy, Development and the Arts: Histories and Theories.

The preliminary programme can be accessed here.

 

 

Keynote Lectures (open to the public, registration mandatory):

Monday, 23 July, 6pm: Volker Berghahn (Columbia University New York): American Foundations, the Arts, and High Politics, 1898-2018

Tuesday, 24 July, 11am: Inderjeet Parmar (London): Foundations of the US-led Liberal International Order: From the ‘Rise to Globalism’ to ‘America First’

Registration: We cordially welcome external guests to attend the conference and/ or the keynote lectures. Please note: registration is mandatory due to the house rules of the Siemens Stiftung. If you would like to register, please send an e-mail indicating your name, e-mail address, affiliation, and if you would like to register for the entire conference and/ or the keynote lectures, to project assistant Gwendolin Lehnerer (MA):  gwendolinlehnerer@yahoo.com

For regular updates on the conference, please also consult the Conference Website .

 

PhD position, „Developing Theatre“ (ERC project, LMU Munich)

Call for applications
PhD Student Position

The Department for Theatre Studies at LMU Munich is seeking to fill a Doctoral Position within the European Research Council project „Developing Theatre: Building Expert Networks for Theatre in Emerging Countries after 1945

Topic: Theatre for Development: Historical and Theoretical Perspectives

Within the wider research project we are seeking to fill a research position leading to a doctorate. The candidate must have a strong interest in historical research/archival work because the larger project is historical in orientation. Experience of Theatre for Development projects would be useful but not essential.

Commencement: 1 September 2018 or soon after

Qualifications: The successful candidate will have an excellent academic track record. We expect a strong interest in the intersections between theatre/performance and development issues and a very high level of motivation to engage in theoretical and historiographical reflection.

– Excellent MA with thesis in theatre studies, history or anthropology

– Excellent (oral and written) communication skills in English; basic German language skills are beneficial but not required

– willingness to contribute to the work of the research group by attending meetings and other activities

Disabled candidates are preferentially considered in case of equal qualification. Applications from women are encouraged.

Salary: 65% of a full time position according to the TV-L 13 public service salary scales.

Tenure: The contract will be initially for two years with a further one year extension subject to a performance review.

For more information please contact

Prof. Christopher Balme (balme@lmu.de) or PD Dr. Nic Leonhardt (n.leonhardt@lmu.de).

Please send your applications with full CV including list of publications, letter of motivation, and references in one pdf document by March 31, 2018 to
E-Mail: n.leonhardt@lmu.de

Doug Reside, PhD, Visiting Fellow at the Centre for Global Theatre History

We are very pleased to announce that Doug Reside, PhD, curator of the Billy Rose Collection at the Library of the Performing Arts, New York, will join the Centre for Global Theatre History, LMU Munich, as a visiting fellow in January 2018.

In close collaboration with the Centre’s Academy of Digital Humanities in Theatre Research, he will give a talk, teach a seminar for students of theatre studies, DH, media culture and dramaturgy of the LMU Munich and the Theatre Academy August Everding, and will be holding workshops for the research team of the ERC project Developing Theatre.

His talk How do you Catch A Cloud and Pin it Down: Preserving Digital Creativity on Wednesday, 17 January, 12-1:30pm, is open to the public and will be taking place at the Institute for Theatre Studies, Georgenstrasse 11, 80799 Munich, room #109.

Short biography Doug Reside

Philanthropy, Development and the Arts – Check Out Our Conference Website

The first conference of our ERC project Developing Theatre will be focusing on „Philanthropy, Development and the Arts: Histories and Theories“ and is taking place from 23-25 July, 2018, at Carl Friedrich von Siemens Foundation in Munich.

20 speakers from 13 different countries were selected for interdisciplinarily interrogating the interrelationship between philanthropic foundations and NGOs, the notion of „development“, and the visual and performing arts throughout the 20th and 21st centuries.

We set up a website/blog for the conference. All updates and info can be retrieved there.

Conference attendance is free of charge, yet registration is required.

For further info please contact the organizers,

PD Dr. Nic Leonhardt (n.leonhardt@lmu.de) & Prof. Dr. Christopher Balme (balme@lmu.de)

 

CfP IFTR Working Group Digital Humanities in Theatre Research, 9-13 July, 2018, Belgrade, Serbia

The Working Group Digital Humanities in Theatre Research of the International Federation for Theatre Research (IFTR) will be meeting at the next annual IFTR conference at the University of Arts in Belgrade, Serbia, 9-13 July, 2018. The call for papers can be downloaded here.

We are soliciting papers and project presentations that represent the full range of experience theatre scholars and practitioners have with Digital Humanities.

We are especially interested in topics that:

  • Introduce important digital humanities projects in theatre and performance studies.
  • Examine the theoretical implications of Digital Humanities for our research into theatre and performance
  • Explore new methodologies in theatre research based on digital technologies
  • Focus on digital theatre history and historiography
  • Discuss best practices for digital humanities projects in theatre and performance
  • Elaborate on innovations in academic curricula in theatre and performance studies inspired by the Digital Humanities
  • Investigate the challenges of crowdsourcing or the use of “citizen scholars” in Digital Humanities research.

Working groups are not required to address the theme of an IFTR conference but papers which enter into conversation with the theme are most welcome. The theme of the 2018 conference will be Theatre and Migration. Theatre, Nation and Identity: between Migration and Stasis.

Abstracts are due by Monday, 15 January, 2018 and are to be submitted through the Cambridge Core website https://www.cambridge.org/core/membership/iftr where you can also find information on IFTR membership and a link to the conference website with full details of the conference.

If you have any questions, please do not hesitate to contact the WG convenors,

Nic Leonhardt (LMU Munich, Director, Centre of Global Theatre History & Academy for DH in Theatre; ERC project Developing Theatre, LMU)  n.leonhardt@lmu.de & nic.leonhardt@gmx.de

Franklin J. Hildy (University of Maryland): hildy@umd.edu

see you in Belgrade ! 

Talk @ Symposium “European Performing Arts Dataverse” , CREATE Amsterdam, 9-10 Nov, 2017

From 9-10 November, the CREATE research programme, University of Amsterdam, holds a workshop on “European Performing Arts Dataverse (EPAD)”, jointly with the Flemish Scientific Research Community “Cultures of Spectacle”.

The workshop seeks to “to assess the feasibility of creating an international framework and data model that would allow for harmonisation of different European datasets on performing arts, in order to facilitate research on transnational and cross-sectoral connections and comparisons”.

Nic Leonhardt, co-Director of the Centre for Global Theatre History and the Centre’s Academy of Digital Humanities in Theatre Research, will give a talk on “DH in Theatre History, and the Challenges of ‘(Trans-)Cultural Interoperability’” , and shall introduce into the digital infrastructure of the ERC project Developing Theatre.

Click here for the programme. Attendees welcomes, registration is mandatory.

Hashtags: #EPAD #CREATE #nicleonhardt #DHinTheatre #TheatreHistory

CfP: „Philanthropy, Development, and the Arts“, International Conference, 23-25 July, 2018

From 23-25 July, 2018, our ERC funded project Developing Theatre will be hosting its first international conference with a special focus on Philanthropy, Development and the Arts: Histories and Theories. At the conference, we seek to interrogate the impact of philanthropy on the field of arts – visual arts, theatre, music, dance, opera, drama education, etc. –  between the 19th and 21st centuries. The conference aims at discussing the work, impact, successes and failures of private and corporate philanthropy and NGOs, including semi-statist organizations such as the Goethe Institut, or the British Council, from the perspectives of history, cultural history, political sciences, art and theatre history.

We are looking for paper proposals addressing the following aspects:

  • Shifting discourses of philanthropy in respect to arts and cultural funding
  • Philanthropic and NGO initiatives in the arts in countries such as Africa, India, Chile, etc.
  • From colonialism to philanthropy: the de/re-colonization of cultural aid
  • Philanthropy vs./ the state: how non-governmental can non-governmental organizations be?
  • Case studies on the private funding of arts and artists with a special focus on development
  • Case studies on field officers, representatives and ‘arts experts’ in charge of philanthropic foundations and NGOs
  • Soft power: arts philanthropy and cultural diplomacy
  • Other related topics will also be considered.

The complete call for papers can be downloaded  here.

Deadline for paper proposals: 30 November, 2017.

The conference will take place from Monday, 23 to Wednesday, 25 July, 2018 at Carl Friedrich von Siemens Stiftung, Munich.

A preliminary programme will be available by spring 2018.

For any inquiries, please do not hesitate to contact PD Dr Nic Leonhardt, Associate Director of the Developing Theatre Project: n.leonhardt@lmu.de.

 

 

 

new series: A Cultural History of Theatre (ed. C. B. Balme & T. C. Davis), Bloomsbury

Edited by Tracy C. Davis and Christopher B. Balme, this new Cultural History of Theatre series offers an insightful survey from ancient times (500 BCE) to the present. The set of six volumes covers a span of 2,500 years, tracing the complexity of the interactions between theatre and culture.
Each volume discusses the same themes in its chapters, namely Institutional Frameworks,  Social Functions, Sexuality and Gender, The Environment of Theatre, Circulation, Interpretations, Communities of Production, Repertoire and Genres, Technologies of Performance, and Knowledge Transmission: Media and Memory.

Volume 1: A Cultural History of Theatre in Antiquity (Edited by Martin Revermann)
Volume 2: A Cultural History of Theatre in the Middle Ages (Edited by Jody Enders)
Volume 3: A Cultural History of Theatre in the Early Modern Age (Edited by Robert Henke)
Volume 4: A Cultural History of Theatre in the Age of Enlightenment (Edited by Mechele Leon)
Volume 5: A Cultural History of Theatre in the Age of Empire (Edited by Peter Marx)
Volume 6: A Cultural History of Theatre in the Modern Age (Edited by Kim Solga)

Five GTH Centre members contributed to volume 5, A Cultural History of theatre in the Age of Empire: Jim Davis, Nic Leonhardt, Derek Miller, Stanca Scholz-Cionca, and Laurence Senelick.

Indian Theatre Artists and the Cold War. ERC Workshop at IIC, New Delhi, 29-30 Sept 2017

The first workshop of the ERC project Developing Theatre is taking place in New Delhi. Organized by Gautam Chakrabarti, PostDoc of the research group, this workshop brings together theatre, art and media scholars and practitioners from India and Europe at the beautiful India International Centre, New Delhi (29-30 September, 2017).

Post-independence India was one of the key sites where the “cultural Cold War” was fought–more often than not– with as much gusto and ruthlessness as its ideological and military counterparts. Theatre was one of the core areas in which this cultural conflict was played out between the 1950s and 1980s, with almost all the major players, both individual and collective or institutional, in contemporary Indian theatre having gone through the ’rite de tomorrow passage’ of ideological training. Academic exploration of these political contestations and problematisations of cultural practices, especially in the Indian context, have opened up larger horizons of possible enquiry. This workshop seeks to bring practitioners, scholars and witnesses of this fascinating history into dialogue with one another.

Participants: V. Akshara (NINASAM, Heggudu) – Christopher Balme (LMU Munich; PI ERC-Project „Developing Theatre“) – Trina N. Banerjee (Centre for Studies in Social Sciences, Calcutta) – Gautam Chakrabarti (LMU Munich, ERC-Project „Developing Theatre“ – Dwaipayan Chowdhury (Jawaharlal Nehru University, Delhi) – Anirban Ghosh (Jadavpur University, Calcutta) – Rakshanda Jalil (Writer, Critic and Literary Historian, Delhi) – Minakshi Kaushik (Jawaharlal Nehru University, Delhi) – Malashri Lal (Convener, English Advisory Board, Sahitya Akademi, Delhi) – Nic Leonhardt (LMU Munich, Associate Director, ERC-Project „Developing Theatre“) – Raghunandana Sathamarshana (Poet, Playwright and Stage-Director, Bengaluru) – Tripurari Sharma (National School of Drama, Delhi) – Vani Tripathi-Tikoo (Member, Central Board of Film Certification, Delhi) –Atul Tiwari (Theatre-, Media- and Film-Practitioner, Independent Scholar, Mumbai)

The workshop is internal. The programme can be downloaded here.

New Publication Out: The Bayreuth Enterprise (1848-1914) by Gero Tögl


Gero Tögl, former PhD student of the Global Theatre Histories research project and associate of the GTH Centre, has just published his PhD thesis The Bayreuth Enterprise, 1848-1914.

In this monograph, Gero reassesses the early history of the Bayreuth Festival between 1848 and 1914 from the perspective of a transnational social project dedicated to the ‚regeneration‘ of modern societies and istitutional reform.  Based on recent debates in globalization theory, ethnography, and anthropology, the book focuses on the interplay of seemingly contradictory aspects such as financing and anti-capitalist ideology, nationalism and the cosmopolitan reach of Wagner’s ideas, artistic monopolization and global marketing.

Gero Tögl: The Bayreuth Enterprise (1848-1914). Würzburg: Königshausen & Neumann 2017. (ISBN  978-3-8260-6011-3) 

Team „Developing Theatre“ travelled to São Paulo.

     The ERC-Project „Developing Theatre„, led by Prof. Dr. Christopher Balme, was represented at the Annual Conference of the International Federation for Theatre Research (IFTR, 10th-14th July, 2017, São Paulo, Brazil) by Prof. Balme, Dr. Nic Leonhardt, Dr. Gautam Chakrabarti and Dr. Rashna D. Nicholson. The first three members spoke in a panel titled „Collective Modern Theater from the 1st Part of XXth Century and Beyond“. Prof. Balme spoke on „Theatrical modernism for the world: Theatrical Epistemic Communities 1920-1960“, and also introduced the ERC-Project to the audience, which was much larger than expected and necessitated a change of the venue to a larger room. He also demonstrated the beta-version of „Our History„, the Digital Humanities platform of the Project. There was, evidently, a lot of interest in this DH-interface and how it may redefine scholarly conceptualisations of global theatre history.

The ERC-Project „Developing Theatre“ group, with Dr. Azadeh Sharifi (LMU-München).

Dr. Chakrabarti presented a paper, based on his sub-project within the ERC-Project, titled „The Red Bear has Awoken!: Soviet Engagement with Indian Theatre Artists in the Cold War“. He spoke about the Soviet connection of post-Independence India’s ‚progressive‘ theatre. He sought, based on his archival and other researches since the beginning of the Project in end-2016, „to attempt a tentative theorisation of the Cold-War-era geopolitical spatialisation of Eurasian cultural geographies as a reactive and subversive function to Eastern Bloc conceptualisations of colonial modernity.“

Dr. Leonhardt’s paper was titled ‚“…Enlarging the Boundaries of Human Knowledge“– by Means of Theatre: Multiple Theatricalities and the Philanthropic Agenda of Stabilizing Cultural Geographies after 1945‘. She presented her research on various, mainly American philanthropists and the foundations established by them and sought to conceptualise philanthropy as a tool of cultural politics in the post-WW2 years. Both her paper and that of Dr. Chakrabarti led, during the Q&A, to animated discussions that underscored the current relevance of the research questions this Project seeks to foreground.

As part of the four-member „Developing Theatre“ delegation, Dr. Nicholson spent most of her working hours at the Historiography Working Group. According to her, she „was moved by a series of thought-provoking keynote speeches, struck by the warmth and generosity of the conference volunteers who stood at all hours of the day at strategic points in Sao Paulo’s Butantã subway station and enjoyed the pão de queijo served up with our coffee each day.“ We also noted the adequate presence of security personnel and are thankful to the organizers, from the University of São Paulo, for their special attention to the delegates’ well-being and security.The crowning glory of the conference was a farewell reception at an exciting theatrical space, which soon dissolved into dance and music that gave us a delightful impression of Brazilian joi de vivre!

Farewell reception.

The overall impression we had of the conference was that of a frenetic and dynamic environment that opened up multiple opportunities and pathways for dialogue and debate. We look forward to the next IFTR Conference in 2018 at Belgrade with pleasant expectations and fond memories of a colourful and productive experience in São Paulo.

The colourful houses of São Paulo.