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

__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. 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 intern Cover 1 Half Title 2 Title Page 4 Copyright Page 5 Dedication 6 Table of contents 8 Figures 11 Contributors 15 Preface 20 Introduction: On critical media history 24 History as collage 24 Theatre history is performance history 29 Materiality and the sensorium 34 Locating 40 Scena: A space to look at 40 Theatre: A social space 41 Sitz im Leben 42 Nation, region, place 42 Non-homogeneous spaces, diaspora, bridgeheads, and cultural ambassadorship 44 Historicising 45 Scaling 54 Notes 58 References 58 Part I Theatre history is performance history 64 1 The size of all that’s missing 66 Missing years 66 Reading holes 68 Doing things with St Apollonia 71 The boneyard of lost performance 78 Slander-tragedy, obscene plays, and other Gregorian reforms 81 Notes 84 References 85 2 Gyno ludens: A doll house redux 88 Doll house historiography and matters of scale 91 Doll house “presence” and “realness” 94 Gyno ludens 100 Notes 106 References 106 3 Rethinking categories of theatre and performance: Archive, scholarship, and practices (a post-colonial Indian perspective) 109 Performance archives 110 Critical citation of state institutions 113 Oral histories and methods of understanding performances 115 Theatre and performance binaries and subjectivities 116 Historicising theatre and performance practices and complicating binaries 118 History-writing and strategies to challenge cultural nationalism 123 Notes 124 References 125 4 Dancing with the living dead: State violence in South Korea and the performance of memory 127 Fixation on transferral 129 Yearning for potentiality 131 Evidentiary obsession 134 Preoccupation with trauma studies 136 Dancing with the living dead 137 Notes 138 References 138 5 Setasidedness 141 Digging back 145 Legibility 150 Carl Niessen 153 Setasidedness 159 Notes 160 References 160 Part II Materiality and the sensorium 164 6 Performatic archives: Mobilising affects in eighteenth-century Mexico 166 Theatrum naturae 166 Theatrum corporis 170 Theatrum mundi 175 Theatrum pictoricum 183 Notes 186 References 187 7 German radio drama and the “cultural formation” of interiority 190 Radio drama as “theatre of the mind” 191 The model of the inner stage 193 From Schauspiel to Hörspiel: radio drama in the 1920s 197 Interiority as a cultural formation of modernity 199 Theatre as site of/against interiority 202 Notes 205 References 206 8 Canonising impulses, cartographic desires, and the legibility of history: Why speak of/for “Indian” theatrical pasts? 209 A question of where to look 209 Making the cut 211 The hegemony of legibility 212 Voodooing the people 213 A “helping hand” 214 Intra-national networks 217 More helping hands and international networks 218 Marginalia 221 An impossible omnivorousness 224 Notes 225 References 225 9 Decolonising theatre history: Ontological alterity, acting objects, and what Theatre Studies can learn from museums 229 The post-humanist critique of historiography 232 Mapping the ontological turn 233 Archival silence, acting, and the non-human 235 Museum/performance/historiography 236 Taonga Maori: a genus of vital object 238 Maori and museums 241 He Tohu 241 Talk and care: demotic performance, material performance 243 Towards a living history: cosmodiversity and the archive 245 Note 247 References 247 Part III Locating 250 10 Off the record: Contrapuntal theatre history 252 Sounding race in early-modern Europe 254 Methodologies of reclamation 258 Recording: song of Barbary 263 Notes 267 References 269 11 The theorist and the theorised: Indigenous critiques of Performance Studies 272 Altering “the Native” 275 Is Performance Studies imperialist? 276 Ma ka hana ka ‘ike (the knowledge is in the work) 280 Notes 280 References 281 12 Complicating hybridity: A view from/through the Andean patron-saint fiesta 283 Fiesta and its epistemologies 284 Identity and hybridity in the Tunantada context 285 Mestizo performance in the Tunantada Fiesta 286 Queer Andean folklore 288 Notes 290 References 290 13 Theatre-historiographical patterns in the Global South 1950–1990: Transnational and institutional perspectives 292 Defining theatre in the Global South 293 The rise of a theatrical epistemic community 294 Modernisation and dependency 295 Models and mirrors: pan-national performing arts festivals 299 Philanthropy and the Cultural Cold War 301 Actors and agents 303 Theatre for the people 305 Structural adjustment and Theatre for Development 307 Theatre in the Global South as global history 308 Notes 310 References 310 14 The role of theatre in the modernisation of Tunisia 313 Constructing a genealogy 314 A glimpse into sources 317 Theatre and identity 319 Theatre, ideology, and institution 320 Genealogy and transmission 323 The value of theatre 325 Notes 326 References 327 15 Translation and/as theatre and performance historiography: Towards a reconsideration of a neglected but omnipresent challenge 330 Lehmann: translation, adaptation, and the historiographic exigencies of Theatre and Performance Studies publication markets 331 Stanislavsky: the historiographic stakes of the translator as editor, author, and agent 335 Boal: translation as historiographic translocation 339 Translation as theatre/performance historiography’s influential intermediary 343 Notes 344 References 345 Part IV Historicising 348 16 On circulation and recycling 350 Introduction: Cultura non facit saltus? 350 Conceptual prelude 351 Narratives and forms: the open grave 354 The detail in the devil 359 The devil has a close relationship with theatre 360 The return of the devil 362 Techniques: circulation and acquisition 363 Seeking India: Carl Hagemann 364 Making a scene 365 Further perspectives 367 Notes 367 References 368 17 Towards an expansive historiography of Jews as creative collaborators and hired contractors in early-modern Italian theatre 371 Gathering evidence for Jewish theatre-making in early-modern Italy 372 The historiography of Italian Jewish theatre history 373 Venice, mercantilism, and influences on performance and “contractors” 376 Performance traditions among Jewish theatre-makers 376 Understanding the contractor paradigm 377 Contracting costumes 380 Contracting scenic design 382 Contracting support for Christian troupes 383 Notes 384 References 385 18 Renaissance theatre and clockpunk historiography 387 Giulio Camillo’s media futurology 389 Stephen Gosson’s reformative mnemotechnics 393 The machinic time signatures of Shakespeare’s Last Plays 395 Clockpunk in the digital age 398 Notes 402 References 403 19 Theatre history as contemporary history 406 The paradoxical structure of contemporary history 408 Theatre historiography and performance analysis 410 A leap between times 412 Witnessing 413 Re-enactment 414 Methods 416 Résumé 417 Notes 418 References 418 Part V Scaling 420 20 Modelling the world through play: An exploration in repurposing, representation, and history-writing 422 Autobiographical preamble 422 What is a model? A theoriography of models 422 Models in theatre and performance historiography 424 Material models in theatre and performance historiography 425 Medial models in/of theatre and performance historiography 431 Words 432 Scripts 433 Immaterial (conceptual) models of theatre and performance historiography 434 Notes 437 References 438 21 Towards a new culture of public negotiation: Interplay between political and theatrical spheres in the Vienna Revolution of 441 Defining the approach: “Culture possesses us as much as we possess it” 441 Exploring the field: “Who would have thought about theatre?” 442 Cheers and protests: “Vivat! Pereat!” 444 Debating social issues: “Mr Hardy is thus noble and at the same time enterprising in terms of his profit” 448 Laughter and raising laughter: “What we need most in this serious time: amusement!” 452 Towards a new culture of public negotiation 456 Notes 457 References 458 22 Performance texts and recording performance: Towards a methodology of multiplicity 459 Challenging ephemerality 464 Recording performance: a record/to record 470 The art of adaptation: a research project in process 471 Performance texts — an art with an aura? 476 Notes 477 References 477 23 Quantitative visualisation and qualitative research: The Beijing opera Yinpeixiang (video matching audio) project 479 Cultural reception of the project: rationale, selection criteria, and recording process 480 An archive of imaginary reconstructions of events 482 Challenging official and scholarly xiqu reform narratives 488 Evidence of continuity and disruption 494 Towards quantitative-qualitative hybridity in theatre historiography 496 Notes 497 References 498 Index 501 "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