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.
Nic Leonhardt is attending the symposium Europen Theatre Perspectives. Exploring Channels for Cross-Cultural Engagement in Performance from 7-9 November, 2016 in Wroclaw, Poland,
Nic’s talk Geteilte Geschichte(n): Exploring theatre histories as shared and divided deals with Shalini Randeria’s and Andreas Eckert’s understanding of history as ‚geteilt‘, i.e. divided and shared, and discusses whether we could speak of third understanding of history, that of „common“ or „commons“. She will also talk about the work of the GTH Centre as well as the Theatrescapes database.
In addition, conference delegates will have the chance to learn more about the GTH Center and its projects at a ‚Community Café‘ to take place during the symposium.
published in Theatre Research International, Volume 40 / Issue 02 / July 2015, pp 140-155
„Bangkok, Singapore, Paris, Vienna, Berlin, St Petersburg – some thirty performers of the Boosra Mahin Siamese Theatrical Troupe toured the world in 1900. Daily newspapers enthusiastically reported on the unprecedented shows of the performers ‘from the land of the white elephant’. After they disappeared from the map of theatre history, in 2010 Thai choreographer Pichet Klunchun ‘revives’ the troupe in his performance Nijinsky Siam. He follows their October 1900 St Petersburg show – the very performance attended by choreographer Mikhail Fokine and costume designer Léon Bakst, who later worked closely with Vaslav Nijinsky. In 1910, Nijinsky’s La danse siamoise/Siamese Dance premiered at the Marinsky Theatre, St Petersburg. This article follows the routes of the Boosra Mahin Troupe on the basis of selected primary sources and from a global-historical perspective. In tracing the Boosra Mahin Troupe and their tours, the article not only maps their manifold routings and reroutings, but also advocates for the need for a global theatre historiography that puts past cultural entanglements and connected performance histories centre stage.“
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)