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.

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) 

New Article Out Now: Theatrical Institutions in Motion (C. Balme)

The first peer-reviewed publication of the new ERC project „Developing Theatre: Building Expert Networks for Theatre in Emerging Countries after 1945” just came out in the Journal of Dramatic Theory and Criticism (vol. 31, 2, 2017).

In his paper “Theatrical Institutions in Motion: Developing Theatre in the Postcolonial Era” the project’s principal investigator Christopher Balme examines the complex transnational processes that led to an institutionalization of theatre in emerging nations after 1945.

Christopher Balme: „Theatrical Institutions in Motion: Developing Theatre in the Postcolonial Era“, Journal of Dramatic Theory and Criticism, vol. 31, no. 2, 2017, pp. 125–140.

Article available on Project MUSE.

 

Facelift of GTH: new Centre, Logo, Website

Same agenda – new concept.

Same web address – new face.

New centre  – new logo.  

 

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.

Our new website went online recently. Check it out!

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

We would like to thank Maryam Khosrovani for the logo !

 

„Developing Theatre“ – Presentation of our new ERC Research Project

header_worldtheatreday

http://www.world-theatre-day.org/

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. 

Abstract

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

 

 

Public Talk by Helen Gilbert: „Deep Time, Slow Violence, Haunted Lands“

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).

Iconic Royal Opera House Mumbai Reopens (with a little help from LMU theatre historians)

Royal Opera House: view from the road

Royal Opera House: view from the road (Photo: Christopher Balme)

Tonight, on 20 October 2016, the historic Royal Opera House (ROH) in Mumbai will reopen after extensive restoration.  Under the direction of award-winning conservation architect Abha Narain Lambah the opera house has been restored to its original state when it first opened in 1912. The building has been owned by the Gondal family since the early 1950s and their commitment to its conservation has made this task possible. The LMU Global Theatre Histories project contributed to the restoration effort by providing the conservation team with rare written and visual material describing the interior of the building. Theatre historian Christopher Balme is researching the career of the theatrical impresario Maurice E. Bandmann (1872-1922) who built the ROH together with a Parsi coal merchant J.F. Karaka. While researching a term paper for a MA seminar, a student research assistant David Berger located an extremely rare publication in the Bavarian State Library, J.J. Sheppard (ed.), Territorials in India:  A Souvenir of Their Historic Arrival for Military Duty in the „Land of the Rupee“. From the Royal Opera House, Bombay. Prepared in Accordance with the Instructions of the Proprietor, J. F. Karaka. (1916). This publication (World Cat lists only two extant copies), funded by the proprietor of the ROH, contains a detailed description with photographs of the interior. In a recent interview Lambah acknowledged this help.The restoration itself has been a huge job as she stated on the eve of the opening: „“More than 54,000 days of manpower, skilled craftsmanship, stone sculptors, stain glass conservators, art restorators and technical engineers have gone into recreating this piece of history. About 100 years ago the Opera House was India’s most stunning cultural venue. We hope with this restoration it would open its doors once again to some of the finest live performances in music, dance, theatre, fashion and opera.” The opening tonight is a historic event and has attracted a great deal of media attention. Balme was interviewed recently for one of India’s leading online cultural publications, scroll.in,  to gain more information about Bandmann and his largely forgotten role in India’s theatre history.

View of the stage be

View of the stage before restoration (Photo: Christopher Balme)

Negotiating the Entertainment Business: Theatrical Brokers around 1900

Brokers Detail

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

Christopher Balme: Managing Theatre and Cinema in Colonial India: Maurice E. Bandmann, J.F. Madan and the War Films’ Controversy

meLê yamomo: Brokering Sonic Modernities: migrant Manila musicians in the Asia Pacific, 1881-1948

Tracy C. Davis: International Advocacy for Fire Prevention: Calculating Risk and Brokering Best Practices in Theatres

Louis Pahlow: Industrialised Music Brokers as Competing Market Players: The Administration of Music Rights in Germany (ca. 1870-1930)

pageHeaderLogoImage_en_US

New paper by Nic Leonhardt: „Re-routing the World Tour of the Boosra Mahin Siamese Theatre Troupe (1900)“

published in Theatre Research International, Volume 40 / Issue 02 / July 2015, pp 140-155

abstract:

„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.“

Paper

Theater & Globalisierung – Vortrag IBZ München, 3. Feb 2015

Salem_Riverfront_Park_(Marion_County,_Oregon_scenic_images)_(marDA0014)

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

Asian Theatre and Globalization – Christopher Balme in Beijing

balme_picChristopher 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)