Ernst Oppler. Pavlova as bacchante. Drawing. (Public Domain)
The Centre for Global Theatre History cordially invites to a public talk by London based reader and researcher Kate Elswit ( (Royal Central School of Speech and Drama, University of London) on Tracing Dynamic Spatial histories and Networks of Movement on the Move on Wednesday, 14 June, 12-1:30pm @ Institute for Theatre Studies, Georgenstrasse 11, Room #109.
„The talk is based on a series of collaborations between Kate Elswit and Harmony Bench regarding the ways in which digital research methods can work in tandem with more traditional scholarly methods to manage the scale and complexity of data in accounts of what we call “movement on the move,” which we explore through the phenomenon of dance touring alongside other modes of circulation and transmission. In the first part of the talk, I draw on the project’s early research into South American tours by Anna Pavlova’s company during World War One and American Ballet Caravan during World War Two. Here focus is on the database and the map as tools that expand our capacity to trace “dynamic spatial histories of movement.” In the second part of the talk, I turn to a new collaborative work in progress that focuses on the archives of African American choreographer and anthropologist Katherine Dunham. This new work broadens the scope of transmission to explore geographical and cultural mobilities in tandem, ultimately revealing the scale of personal, professional, and political networks surrounding a single artist, and proposing what such histories of circulation can offer to dance history.“
Kate Elswit is Reader in Theatre and Performance at the Royal Central School of Speech and Drama, University of London and author of Watching Weimar Dance and Theatre & Dance. She has won three major awards for scholarly publications and her research has been supported by many sources, including a Marshall Scholarship, a postdoctoral fellowship in the Andrew W. Mellon Fellowship of Scholars in the Humanities at Stanford University, the 2013 Lilian Karina Research Grant in Dance and Politics, and most recently a Batelle Engineering, Technology, and Human Affairs (BETHA) Endowment Grant with Harmony Bench. She also works as a choreographer, curator, and dramaturg.
Was war vor dem Post?
Eine historische Perspektive auf postmigrantisches Theater.
We happily announce and cordially invite to the public talk on Post-Migrant Theatre by Azadeh Sharifi, associate of the Centre for Global Theatre History,
Dr. Sharifi’s talk (in German) will take place on Wednesday, 17 May, 12am (sharp)-1:30pm at Georgenstraße 11, 80799 Munich, room 109. The event is jointly organized by the Department of Theatre Studies LMU and the Centre for Global Theatre History.
Azadeh Sharifi abstract & biographical note
Nic Leonhardt, director of the Centre for Global Theatre History, and the new Academy of Digital Humanities in Theatre Research @ GTH Centre, was invited by the research program CREATE of the University of Amsterdam to give a talk on Digital Humanities in Theatre History in the context of the program’s „CREATE Salon„, on 14 March, 2017.
Her Talk on Global Clicks through Theatrescapes was followed by a presentation of Frans Blom, Rob van der Zalm, and Jan Vos on „Amsterdam City Theatre Repertoire and ONSTAGE, 1638-2016“, and a project presentation of „MEPAD: Mapping European Performing Arts Databases“ by Julia Noordegraaf, Claartje Rasterhoff, and Vincent Baptist.
Developing Theatre: Building Expert Networks for Theatre in Emerging Countries after 1945 reads the title of our new ERC funded research project under the umbrella of the Centre for Global Theatre History.
On Wednesday, 18 January, 2017, 12 (s.t.)-2pm the project’s leaders and researchers will introduce to the agenda of Developing Theatre at the Institute of Theatre Studies, Georgenstrasse 11, 80799 Munich, room #109.
This new research project, sponsored by the European Research Council, proposes a fundamental re-examination of the historiography of theatre in emerging countries after 1945. It investigates the institutional factors that led to the emergence of professional theatre in the post-war period throughout the decolonizing world. The particular focus will be on the massive involvement of internationally coordinated ‚development‘ and ‚modernization‘ programs both East and West. The project will introduce the concepts of epistemic community, expert networks and techno-politics to theatre historical research as a means to historicize theatre within transnational and transcultural paradigms and examine its imbrication in globalization processes.
With contributions by Christopher Balme (PI), Nic Leonhardt (Associate Director & Senior Researcher), Gautam Chakrabarti (PostDoc), Rebecca Sturm (PhD candidate).
The project website will be online soon.
Contact: n.leonhardt @ lmu.de
The Centre for Global Theatre History cordially invites you to this guest lecture by Helen Gilbert, professor for theatre studies and currently a Alexander von Humboldt fellow at the Rachel Carson Centre, Munich.
The lecture will take place on Wednesday, 14 December, 12-2pm at the Institute for Theatre Studies, Georgenstrasse 11, 80796 Munich, room 109.
Her talk aims to set up a dialogue between philosophical debates informing the concept of the anthropocene (loosely defined as the age of unprecedented human disturbance of the earth’s ecosystems) and recent indigenous performances concerned with the effects of climate change, not just on indigenous lands and lifeways, but also in global terms.
Helen Gilbert is Professor of Theatre at Royal Holloway, University of London, and author of several influential books, notably Performance and Cosmopolitics: Cross-Cultural Transactions in Australasia (2007) and Postcolonial Drama: Theory, Practice, Politics (1996). From 2009–14, she led the transnational ERC-funded project on indigenous performance across the Americas, the Pacific, Australia and South Africa. She has curated experimental performance work in universities and museums and brought performance-based insights to scientific research, notably in Wild Man From Borneo: A Cultural History of the Orangutan (2014). Recent books: In the Balance: Indigeneity, Performance, Globalization (2017) and Recasting Commodity and Spectacle in the Indigenous Americas (2014).
Public talk by Rebecca Rovit (University of Kansas, Fulbright Fellow IFK Wien) Organized by the Centre for Global Theatre Histories.
30 November, 2016, 12-2pm. Theaterwissenschaft, Georgenstrasse 11, 80796 Muenchen, room #109.
„Cultural historians have not sufficiently analyzed how theatre directors and performers coordinated artistic endeavors in the years before Soviet and Western-Allied powers set parameters for cultural life in postwar Berlin. The re-emergent culture after 1945 arose from an artistic collaboration between German-language artists and military officers from four zones of foreign occupation. Evidence suggests that before a German defeat was inevitable, Soviet leaders and exiled artists planned a future cultural policy for Germany and Austria. Officers in the occupied zones recognized the political power of culture and subsidized theatre. Artists knew that the theatre could be a useful conduit to bring recent history to the public. What does this suggest about the theatre repertoire in Vienna, another city, defeated and managed by four world powers? This lecture will explore the interplay of forces that defined the cultural heritage of the occupation in the early postwar years, while tapping into historiographical, national narratives of Germany and Austria.“
a short report by Rashna Nicholson
DFG Research Training Group: „Globalization and Literature. Representations, Transformations, Interventions“, LMU Munich, and associate of the GTH project
On 12 May 2015, Rustom Bharucha, Professor at the School of Arts & Aesthetics, Jawaharlal Nehru University, New Delhi and acclaimed writer of Theatre and the World: Performance and the Politics of Culture, conducted a workshop in Munich based on his most recent work, Terror and Performance. Beginning with his impetus for the writing of his book (one of these being a production of Jean Genet’s The Maids in Manila in 2001), he went on to delineate the starting point of the work: the desire to free ‘terror’ from the language of ‘terrorism’. In this extrapolation of ‘terror’ from ‘terrorism’ he stated the methodological limits of such a view, the chief one being that of literary ‘sprawling’. Nevertheless such a point of view bolstered the ethical rationale in the process of the writing of the text. The second term that need tackling then was that of ‘Performance’ one that he stated was ‘less conditioned by the ‘artistic’ orchestration of a corporeal, ‘live’, rehearsed, time-and-space bound event, framed within the cultural norms of civic institutions like state theatres, than by a much wider understanding (..) inextricably linked to social interactions, behaviours, strategies, deceptions, manipulations, and negotiations of terror in the public sphere.’ Through the reclaiming of Judith Butler’s ‘performativity’ within the realm of theatrical praxis, Prof. Bharucha asked for a rethinking of performance as a set of tools to analyze terror. He explained his use of the latter through his clarifications on the ‘queering’ of Muslims as ‘terrorist’ through personal example and through the concept of performativity animating political discourse in the Truth and Reconciliation process in Rwanda and South Africa. Finally as a conclusion he turned to Gandhi’s activist performances in order to question the potency of non-violence in an age of terror. The discussion that took place after the presentation revolved primarily around methodological questions pertaining to the extrapolation of ‘terror’ from ‘terrorism’ and on the constitutive elements of performance. Visual aspects and the assumption of an audience common to both terrorism and performance were highlighted as also the ethics that need be deployed in the writing of terror or terrorism as performance.
 Rustom Bharucha, Theatre and the World: Performance and the Politics of Culture, London: Routledge, 1993.
 Rustom Bharucha, Terror and Performance, London: Routledge, 2014.
 Ibid., pp. 19-20.
Theater ist von jeher eine mobile Angelegenheit – und sucht sich doch in Architektur und Konventionen lokale Verankerung. In seinem Vortrag wird Prof. Dr. Christopher Balme, Leiter des DFG-Projektes Global Theatre Histories Ergebnisse des Projektes vorstellen und die Parameter von Theater im Kontext von Globalisierung seit der Mitte des 19. Jahrhunderts beleuchten. Wie ist Globalisierung in dieser Zeit zu verstehen, und wie reagiert und bringt sich Theater in Zeiten kultureller Mobilität ein? Welche Stile, Konzepte wandern transnational? Was lässt sich über theatrale Handelsrouten sagen, die gleichsam ein Netz bilden, auf dessen SeilenTheaterpraktiker jonglieren? Werden „Einflüsse“ 1:1 adaptiert oder lassen sich kreative, subversive Praktiken der lokalspezifischen Adaptionen vermerken?
Diese und andere Fragen an einen historischen Zusammenhang von Theater und Globalisierung wird dieser Vortrag auch im Hinblick auf die gegenwärtige Positionierung von Theater in einer vernetzten Welt diskutieren.
Prof. Dr. Christopher Balme: Theater & Globalisierung
Dienstag, 3. Februar 2015, 18:30 Uhr, IBZ München
Vortrag CB Theater u Globalisierung 3 Feb IBZ
Christopher Balme (PI of the GTH project) held the opening address at the 1st World Theatre Education Convention, Central Academy of Drama, Beijing (www.atecnet.org/ATECEN/) on 18 May, 2014 under the auspices of the Asian Theatre Education Centre (ATEC).
The paper was entitled: ‚Asian Theatre and Globalization: Historical Perspectives‘. (see Asian Theatre and Globalization_Balme for an extended version of the talk)