Theatre Across Oceans: Mediators of Transatlantic Exchange, 1890–1925 (Transnational Theatre Histories)

Preface
Acknowledgements
Contents
List of Figures
1 Meandering (Theatre-) Histories
	1.1 Discoveries
	1.2 Methodological Approaches
		1.2.1 Relational Past: Global/Transnational History
		1.2.2 Flows, Landscapes, Networks—Transnational Theories
	1.3 Global/Transnational Theatre History
	1.4 Design of the Study
		1.4.1 Shared History—Theatrescapes—Follow the People
		1.4.2 Sources
		1.4.3 “Theatre Across Oceans”
		1.4.4 Structure
	References
2 “Transfer, Transmission, Translation”—Of Countries, Oceans, News
	2.1 Prologue: The Sinking of a Ship as a Global Event
	2.2 Transatlantic Passages—Infrastructures of Traffic, Travel and Theatre Trade
		2.2.1 Passages on Land
		2.2.2 Passages on Water
	2.3 Mediascapes—Tele-Waves and Communication Across Borders
		2.3.1 Global Spaces of Communication—History and Media
		2.3.2 Telegraphy—The Cabling of the World51
		2.3.3 Agencies as Mediators: Markets for Texts and Images
		2.3.4 Theatrescapes and Mediascapes
			2.3.4.1 Picture Agencies
			2.3.4.2 Journalistic Formats as Advertising Platforms for Mediators
			2.3.4.3 Shipwreck
	References
3 Agencies Backstage, Bookings, Bureaucracy
	3.1 The Professionalisation of Theatrical Mediation
	3.2 Repositories of a Profession: Papers and Paperwork as Traces
	3.3 Mediators Reflected in (Theatre) Scholarship
	3.4 Impresario, Entrepreneur, Manager, Agent—The Semantic Spectrum of the Term “Mediator”
	3.5 Powerful in Action, but Invisible: A Who’s Who of Mediators
		3.5.1 No Country Just for Men—Female Mediators
		3.5.2 International Agencies
		3.5.3 Multi-Professionalism and “Cross-Ocean Knowledge”
	3.6 Twice the Mediation: Agents and the Media as Mediators
	3.7 “If Money not Here Until Tomorrow You Lose Rights”: Contracts, Rights and Legal Precedents
	3.8 Institutions as Critical Voices: (International) Syndicates and Associations
	3.9 Research Gaps in International Performance Rights and Copyright
	References
4 Transatlantic Mediators of Theatre
	4.1 “An Active Medium for the Exchange”—Elisabeth1 Marbury (1855–1933)
		4.1.1 “A Kaleidoscopic Mind”—Marbury’s “Transcultural Capital”
		4.1.2 “The Spirit of Speculation Entered into My Veins”—Professional Beginnings
		4.1.3 “In Touch with the World”—Building the Marbury Enterprise
		4.1.4 Media Mediator—Marbury’s “Novel Facts” and “Home Stories”
		4.1.5 Marbury’s Portfolio
		4.1.6 “Regular, Systematic Work”—Marbury’s Organisational Systems
		4.1.7 “La Providence des Écrivains Dramatiques”—Marbury’s Métier in France
			4.1.7.1 USA
		4.1.8 Organising People: Marbury as Personal Manager and Dance Impresaria
			4.1.8.1 Dance Impresaria for Irene and Vernon Castle
			4.1.8.2 Standardisation: Dance School and Competition
		4.1.9 Contact Zones: Villa Trianon, Colony Club and Castle House
			4.1.9.1 Salonnière américaine: “Le Monde & La Ville” Are Guests at the Villa Trianon
			4.1.9.2 Colony Club and Castle House
			4.1.9.3 Social Centres and Social Dance: Castle House and Castles in the Air
			4.1.9.4 The Castles in the Air Dance Hall
		4.1.10 The Revue Russe and La Chauve-Souris
			4.1.10.1 Revue Russe—Moscow, Paris, New York
			4.1.10.2 La Chauve-Souris
	4.2 Playbroker—Alice Kauser (1871–1945)
		4.2.1 A Polyglot US-European: The Early Years
		4.2.2 Kauser’s Contacts: Publishers, Agencies, Managers, Actors
			4.2.2.1 Publishers
			4.2.2.2 Actors
			4.2.2.3 Procuring Contacts
		4.2.3 “Miss Kauser Reads, Personally, Every Play Sent to Her”—Kauser’s System
			4.2.3.1 Images as Mediators
		4.2.4 Kauser’s Client Files: Advancements and Failures
			4.2.4.1 Edward Sheldon
			4.2.4.2 Ludwig Fulda
			4.2.4.3 Arthur Schnitzler
		4.2.5 New Markets, New Departures: Alice Kauser’s Motion Picture Department
	4.3 The Global Amusement Explorer—Richard Pitrot (1852–1929)
		4.3.1 “The Globe-Trotting Mimic”—From Vienna to the White House
		4.3.2 Attractions, Circus, Agency
			4.3.2.1 Attractions on Coney Island
			4.3.2.2 Pitrot’s Circus: The American Globetrotting Company
			4.3.2.3 Pitrot and Girard’s International Vaudeville Agency (1905 onwards)
		4.3.3 “Yours Mimically, Richard Pitrot” Strategies for (Self-)Promotion
			4.3.3.1 Barnum’s Mimic
			4.3.3.2 The Iconography of the (Art-)Collector
			4.3.3.3 Open Letter
			4.3.3.4 Testimonials and Third-Party References
		4.3.4 Richard Pitrot, “the Star Seeker”
		4.3.5 Circuits & Circus: “European Representative” for North and South America
			4.3.5.1 Alexander Pantages Circuit
	4.4 “The Greatest Exporter of European Talent”—H. B. Marinelli (1864–1924)
		4.4.1 First Career: Contortionist and Anatomical Miracle
		4.4.2 Building a Global Agency—“The World’s Theatrical Exchange”
		4.4.3 The Marinelli System: Organization of a Multi-local and Multi-professional Business
		4.4.4 Mixed Mediation
		4.4.5 Theatre Director in Paris: Olympia Music Hall, Boulevard Des Capucines
	References
5 Multifurcations: The Course and Decline of Transatlantic Theatre Flows During the First World War
	5.1 Translations of Countries, Oceans, News
		5.1.1 Stagnating Flows
		5.1.2 Cut Cables
	5.2 New Stages of Mediation
	5.3 Divided History—History Divided: New Nationalisms
	References
6 Conclusion
Index