After five truly fruitful and successful years and due to its ongoing disciplinary relevance, we reframed the DFG funded research project Global Theatre Histories as a Centre for Global Theatre History.
If you have any questions regarding the Centre’s agenda, possible fellowships, seminars, talks, etc, please do not hesitate to contact Nic Leonhardt, director of the GTH Centre, via n.leonhardt [at] lmu.de
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.
The peer-reviewed online Journal of Global Theatre History has recently published its 2nd issue with special focus on Theatrescapes. Global Media and Local Publics. Explore this new issue and learn about the Denishawns in Asia, Sarah Bernhardt in Brazil, a female Jockey from the Rio de la Plata region, and German actor Daniel Bandmann performing Shakespeare globally.
„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.“
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.
Speakers and respondents are: Khalid Amine, Christopher Balme, Rustom Bharucha, Leo Cabranes-Grant, Catherine Cole, Tracy Davis, Marija Djokic, Anirban Ghosh, Nic Leonhardt, Marlis Schweitzer, Laurence Senelick,Rashna Nicholson, Berenika Szymanski-Düll, Gero Tögl, Maria Helena Werneck, meLê yamomo, Catherine Yeh