The Routledge companion to theatre and performance historiography / edited by Tracy C. Davis & Peter W. Marx.

Format:

Book

Author/Creator:

Davis, Tracy C., 1960- author.

Contributor:

Marx, Peter W., 1973- editor.

Series:

Routledge companions.

Routledge companions

Language:

English

Subjects (All):

Theater--Historiography.

Theater.

Physical Description:

1 online resource (519 pages) : illustrations

Edition:

1st ed.

Place of Publication:

Abingdon, Oxon ; New York, NY : Routledge, Taylor & Francis Group, 2021.

Summary:

"The Routledge Companion to Theatre and Performance Historiography sets the agenda for inclusive and wide-ranging approaches to writing history, embracing the diverse perspectives of the twenty-first century and Critical Media History. Written by an international team of authors whose expertise spans a multitude of historical periods and cultures, this collection of fascinating essays poses the central question: 'what is specific to the historiography of the performative?' The study of theatre, in conjunction with the wider sphere of performance, involves an array of multi-faceted methods for collecting evidence, interpreting sources and creating meaning. Reflecting on issues of recording - from early modern musical scores, through VHS-technology to latest digital procedures - and on what is missing from records or oblique in practices, the contributors convey how theatre and performance history is integral to social and cultural relations. This expertly curated collection repositions theatre and performance history and is essential reading for Theatre and Performance Studies students or those interested in social and cultural history more generally"-- Provided by publisher.

Contents:

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

2 Gyno ludens: A doll house redux

Doll house historiography and matters of scale

Doll house "presence" and "realness"

Gyno ludens

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

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

5 Setasidedness

Digging back

Legibility

Carl Niessen

Setasidedness

Part II Materiality and the sensorium.

6 Performatic archives: Mobilising affects in eighteenth-century Mexico

Theatrum naturae

Theatrum corporis

Theatrum mundi

Theatrum pictoricum

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

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

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

Part III Locating

10 Off the record: Contrapuntal theatre history

Sounding race in early-modern Europe

Methodologies of reclamation

Recording: song of Barbary

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)

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

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

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

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

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

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

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

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

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

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

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?

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

Index.

Notes:

Includes bibliographical references and index.

Description based on print version record.

ISBN:

9781351271721

1351271725

9781351271707

1351271709

OCLC:

1151520417