The Routledge Companion to Theatre and Performance Historiography (Routledge Companions)

Cover
Half Title
Title Page
Copyright Page
Dedication
Table of contents
Figures
Contributors
Preface
Introduction: On critical media history
	History as collage
	Theatre history is performance history
	Materiality and the sensorium
	Locating
		Scena: A space to look at
		Theatre: A social space
		Sitz im Leben
		Nation, region, place
		Non-homogeneous spaces, diaspora, bridgeheads, and cultural ambassadorship
	Historicising
	Scaling
	Notes
	References
Part I Theatre history is performance history
	1 The size of all that’s missing
		Missing years
		Reading holes
		Doing things with St Apollonia
		The boneyard of lost performance
		Slander-tragedy, obscene plays, and other Gregorian reforms
		Notes
		References
	2 Gyno ludens: A doll house redux
		Doll house historiography and matters of scale
		Doll house “presence” and “realness”
			Gyno ludens
		Notes
		References
	3 Rethinking categories of theatre and performance: Archive, scholarship, and practices (a post-colonial Indian perspective)
		Performance archives
		Critical citation of state institutions
		Oral histories and methods of understanding performances
		Theatre and performance binaries and subjectivities
		Historicising theatre and performance practices and complicating binaries
		History-writing and strategies to challenge cultural nationalism
		Notes
		References
	4 Dancing with the living dead: State violence in South Korea and the performance of memory
		Fixation on transferral
		Yearning for potentiality
		Evidentiary obsession
		Preoccupation with trauma studies
		Dancing with the living dead
		Notes
		References
	5 Setasidedness
		Digging back
		Legibility
		Carl Niessen
		Setasidedness
		Notes
		References
Part II Materiality and the sensorium
	6 Performatic archives: Mobilising affects in eighteenth-century Mexico
		Theatrum naturae
		Theatrum corporis
		Theatrum mundi
		Theatrum pictoricum
		Notes
		References
	7 German radio drama and the “cultural formation” of interiority
		Radio drama as “theatre of the mind”
		The model of the inner stage
		From Schauspiel to Hörspiel: radio drama in the 1920s
		Interiority as a cultural formation of modernity
		Theatre as site of/against interiority
		Notes
		References
	8 Canonising impulses, cartographic desires, and the legibility of history: Why speak of/for “Indian” theatrical pasts?
		A question of where to look
		Making the cut
		The hegemony of legibility
		Voodooing the people
		A “helping hand”
		Intra-national networks
		More helping hands and international networks
		Marginalia
		An impossible omnivorousness
		Notes
		References
	9 Decolonising theatre history: Ontological alterity, acting objects, and what Theatre Studies can learn from museums
		The post-humanist critique of historiography
		Mapping the ontological turn
		Archival silence, acting, and the non-human
		Museum/performance/historiography
		Taonga Maori: a genus of vital object
		Maori and museums
			He Tohu
		Talk and care: demotic performance, material performance
		Towards a living history: cosmodiversity and the archive
		Note
		References
Part III Locating
	10 Off the record: Contrapuntal theatre history
		Sounding race in early-modern Europe
		Methodologies of reclamation
		Recording: song of Barbary
		Notes
		References
	11 The theorist and the theorised: Indigenous critiques of Performance Studies
		Altering “the Native”
		Is Performance Studies imperialist?
		Ma ka hana ka ‘ike (the knowledge is in the work)
		Notes
		References
	12 Complicating hybridity: A view from/through the Andean patron-saint fiesta
		Fiesta and its epistemologies
		Identity and hybridity in the Tunantada context
		Mestizo performance in the Tunantada Fiesta
		Queer Andean folklore
		Notes
		References
	13 Theatre-historiographical patterns in the Global South 1950–1990: Transnational and institutional perspectives
		Defining theatre in the Global South
		The rise of a theatrical epistemic community
		Modernisation and dependency
		Models and mirrors: pan-national performing arts festivals
		Philanthropy and the Cultural Cold War
		Actors and agents
		Theatre for the people
		Structural adjustment and Theatre for Development
		Theatre in the Global South as global history
		Notes
		References
	14 The role of theatre in the modernisation of Tunisia
		Constructing a genealogy
		A glimpse into sources
		Theatre and identity
		Theatre, ideology, and institution
		Genealogy and transmission
		The value of theatre
		Notes
		References
	15 Translation and/as theatre and performance historiography: Towards a reconsideration of a neglected but omnipresent challenge
		Lehmann: translation, adaptation, and the historiographic exigencies of Theatre and Performance Studies publication markets
		Stanislavsky: the historiographic stakes of the translator as editor, author, and agent
		Boal: translation as historiographic translocation
		Translation as theatre/performance historiography’s influential intermediary
		Notes
		References
Part IV Historicising
	16 On circulation and recycling
		Introduction: Cultura non facit saltus?
		Conceptual prelude
		Narratives and forms: the open grave
		The detail in the devil
			The devil has a close relationship with theatre
			The return of the devil
		Techniques: circulation and acquisition
			Seeking India: Carl Hagemann
			Making a scene
		Further perspectives
		Notes
		References
	17 Towards an expansive historiography of Jews as creative collaborators and hired contractors in early-modern Italian theatre
		Gathering evidence for Jewish theatre-making in early-modern Italy
		The historiography of Italian Jewish theatre history
		Venice, mercantilism, and influences on performance and “contractors”
		Performance traditions among Jewish theatre-makers
		Understanding the contractor paradigm
			Contracting costumes
			Contracting scenic design
			Contracting support for Christian troupes
		Notes
		References
	18 Renaissance theatre and clockpunk historiography
		Giulio Camillo’s media futurology
		Stephen Gosson’s reformative mnemotechnics
		The machinic time signatures of Shakespeare’s Last Plays
		Clockpunk in the digital age
		Notes
		References
	19 Theatre history as contemporary history
		The paradoxical structure of contemporary history
		Theatre historiography and performance analysis
		A leap between times
		Witnessing
		Re-enactment
		Methods
			Résumé
		Notes
		References
Part V Scaling
	20 Modelling the world through play: An exploration in repurposing, representation, and history-writing
		Autobiographical preamble
		What is a model? A theoriography of models
		Models in theatre and performance historiography
		Material models in theatre and performance historiography
		Medial models in/of theatre and performance historiography
			Words
			Scripts
		Immaterial (conceptual) models of theatre and performance historiography
		Notes
		References
	21 Towards a new culture of public negotiation: Interplay between political and theatrical spheres in the Vienna Revolution of
		Defining the approach: “Culture possesses us as much as we possess it”
		Exploring the field: “Who would have thought about theatre?”
		Cheers and protests: “Vivat! Pereat!”
		Debating social issues: “Mr Hardy is thus noble and at the same time enterprising in terms of his profit”
		Laughter and raising laughter: “What we need most in this serious time: amusement!”
		Towards a new culture of public negotiation
		Notes
		References
	22 Performance texts and recording performance: Towards a methodology of multiplicity
		Challenging ephemerality
		Recording performance: a record/to record
		The art of adaptation: a research project in process
		Performance texts — an art with an aura?
		Notes
		References
	23 Quantitative visualisation and qualitative research: The Beijing opera Yinpeixiang (video matching audio) project
		Cultural reception of the project: rationale, selection criteria, and recording process
		An archive of imaginary reconstructions of events
		Challenging official and scholarly xiqu reform narratives
		Evidence of continuity and disruption
		Towards quantitative-qualitative hybridity in theatre historiography
		Notes
		References
Index