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.
„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.
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: email@example.com.
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.
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)
Since 1957, the year of founding of the International Federation for Theatre Research (IFTR), theatre scholars and IFTR members from all parts of the world (in fact from 44 different countries!) meet for their annual conference.
Both the conference theme and the location vary from year to year. The IFTR 2017 conference has a focus on Unstable Geographies: Multiple Theatricalities, and will be hosted by the University of São Paulo, Brazil.
Christopher Balme: Theatrical modernism for the world: Theatrical Epistemic Communities 1920-1960.
Gautam Chakrabarti: The Red Bear has Awoken!: Soviet Engagement with Indian Theatre Artists in the Cold War.
Nic Leonhardt: “… Enlarging the Boundaries of Human Knowledge“– by Means of Theatre: Multiple Theatricalities and the Philanthropic Agenda of Stabilizing Cultural Geographies after 1945.
Rashna Darius Nicholson: What’s in a name? The role of language in the invention of colonial and postcolonial South Asian theatre history
Azadeh Sharifi: Dis/Continuity of Post-migrant theatre in Germany theatre history.
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.
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.“
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.
The Department of History at Heidelberg University has invited Christopher Balme to speak about his new ERC project Developing Theatre as part of the department’s lecture series on Global History.
The lecture entitled Developing Theatre: Building Expert Networks for Theatre in Emerging Countries after 1945 will take place on Thursday, 19 January, 2017, 6pm. (Historisches Seminar, Grabengasse 3-5, Hörsaal, Heidelberg).
The new ERC project started recently at LMU Munich. For the next 5 years, an international team of researchers will be working on strategies and politics of developing theatre after the World War II. More on this new avenue of writing Global Theatre Histories will be published shortly!
From 19 to 21 of August, the Global Theatre Histories project celebrates 5 years of successful work and inspiring collaboration with international partners as well as the kick-off of a new Center for Global Theatre Histories with a symposium on Translocating Theatre Histories.
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
Conference venue: IBZ Munich, Amalienstrasse 38, 80799 Munich
Please contact Gero Tögl (firstname.lastname@example.org) or Nic Leonhardt (email@example.com) for registration before 15 August.
On the occasion of the final year of the Global Theatre Histories research project we compiled a little Booklet that we cordially invite you to browse.
Please do not hesitate to contact us if you would like to receive a hard copy of the booklet.
If you are attending the annual conference of the International Federation for Theatre Research in Stockolm this year, look out for a hard copy!
The research project comes to an end, yet we continue with a Center for Global Theatre Histories. More info coming soon.
Special focus issue of the Popular Entertainment Studies Journal, Vol 6, No 2 (2015)
Guest Editor: Nic Leonhardt (Munich)
“Between the artist who seeks for an engagement and the manager always on the look out for an extraordinary ‛novelty,’”, write Hughes Le Roux and Jules Garnier in Acrobats and Mountebanks (1890), “a third person necessarily intervenes, the middle-man, who arises everywhere between buyer and seller. And, in fact, at the present time all the principal cities of the world have their agents for performing artists of every kind. These personages are very important, and make large profits.”
Profits, Copyright, Royalties, Networking… From a transnational historical perspective, neither theatre as an art form nor theatre as a business can work without the patronage of professional mediators. When French actress Sarah Bernhardt (1844-1923) toured Europe, South and North America in the late-19th and early 20th centuries, she could not do so without professional agents and managers. They were responsible for arranging her contracts, negotiating her royalties, taking care of the travel logistics, (ship, train, accommodation, customs), arranging her itinerary, the transport of her costumes, and the press work. Despite their enormous influence , the practices, connections and circuits of artistic brokers in the period under consideration have been, in the main, under-researched.
The current issue of the Popular Entertainment Studies journal gathers a selection of papers from the international symposium “Cultural Brokers. Nomenclature, Knowledge and Negotiations of (Performance) Agents, Managers and Impresarios (1850-1930)”, which took place in October 2014. This conference, organized by Nic Leonhardt, and generously funded by the Center for Advanced Studies of the Ludwig Maximilian University of Munich and the German Research Foundation, brought together scholars from different disciplinary backgrounds such as English and American Studies, History, Theatre Studies, and History of Law, in order to exclusively and intensively discuss the profession of brokerage in the larger theatrical world in the period under discussion. The focus was therefore on the profession of theatrical brokers, agents, and impresarios who functioned as crucial cultural mediators in the fields of the performing arts and media in Europe, the United States, Asia, Australia, and Africa between 1880 and 1930.
Table of Contents
Nic Leonhardt: Editorial
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.“
This Massive Open Online Course (MOOC) will discuss how theatre, a European cultural practice, spread rapidly around the world in the late 19th and early 20th centuries. The modules will engage with both theoretical and historical perspectives on what is a relatively new area of theatrical research. How did plays, operas and ballets quite literally go global? What do we know about the itineraries of actors, singers, and dancers, what about the cosmopolitan audiences? What can we learn about agents and managers who facilitated the movement of theatre around the world?
Against the backdrop of recent research in the context of global and transnational history, based on case studies of the Global Theatre Histories research group, and enriched by numerous interviews with international experts, course instructor Christopher Balme and his team have developed a fascinating online course that will introduce students into theatre as a global phenomenon and familiarize them with global (historical) perspectives on theatre research.
more MOOCs at LMU