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.
Table of Contents
Introduction: On Critical Media History - TRACY C. DAVIS AND PETER W. MARX; Part I Theatre History is Performance History; 1 The Size of All That’s Missing - ODAI JOHNSON; 2 Gyno Ludens: A Doll House Redux - NATASHA KORDA; 3 Rethinking Categories of Theatre and Performance: Archive, Scholarship, and Practices (A Post-Colonial Indian Perspective) - BISHNUPRIYA DUTT; 4 Dancing with the Living Dead: State Violence in South Korea and the Performance of Memory - ELIZABETH W. SON; 5 Setasidedness - TRACY C. DAVIS; Part II Materiality and the Sensorium; 6 Performatic Archives: Mobilising Affects in Eighteenth-Century Mexico - LEO CABRANES-GRANT; 7 German Radio Drama and the "Cultural Formation" of Interiority - MICHAEL BACHMANN; 8 Canonising Impulses, Cartographic Desires, and the Legibility of History: Why Speak of/for "Indian" Theatrical Pasts? - RASHNA DARIUS NICHOLSON; 9 De-colonising Theatre History: Ontology Alterity, Acting Objects, and What Theatre Studies Can Learn from Museums - MARGARET WERRY; Part III Locating; 10 Off the Record: Contrapuntal Theatre History - NOÉMIE NDIAYE; 11 The Theorist and the Theorised: Indigenous Critiques of Performance Studies - STEPHANIE NOHELANI TEVES; 12 Complicating Hybridity: A View from/through the Andean Patron-Saint Fiesta - ENZO E. VASQUEZ TORAL; 13 Theatre-Historiographical Patterns in the Global South 1950–1990: Transnational and Institutional Perspectives - CHRISTOPHER BALME; 14 The Role of Theatre in the Modernisation of Tunisia - VICKI ANN CREMONA & MAHMOUD MEJRI; 15 Translation and/as Theatre and Performance Historiography: Towards a Reconsideration of a Neglected but Omnipresent Challenge - JEAN GRAHAM-JONES; Part IV Historicising; 16 On Circulation and Recycling - PETER W. MARX; 17 Towards an Expansive Historiography of Jews as Creative Collaborators and Hired Contractors in Early-Modern Italian Theatre and Performance - ERITH JAFFE-BERG; 18 Renaissance Theatre and Clockpunk Historiography - ELLEN MACKAY; 19 Theatre History as Contemporary History - MATTHIAS WARSTAT; Part V Scaling; 20 Modelling the World through Play: An Exploration in Repurposing, Representation, and History Writing - PAVEL DRÁBEK; 21 Towards a New Culture of Public Negotiation: Interplay between Political and Theatrical Spheres in the Vienna Revolution of 1848 - STEFAN HULFELD; 22 Performance Texts and Recording Performance: Towards a Methodology of Multiplicity - SHARON ARONSON-LEHAVI; 23 Quantitative Visualisation and Qualitative Research: The Beijing Opera Yinpeixiang (Video Matching Audio) Project - SIYUAN LIU
Tracy C. Davis is Barber Professor of Performing Arts at Northwestern University, USA.
Peter W. Marx is Chair of Theatre and Media Studies at the University of Cologne, Germany, and director of its Theaterwissenschaftliche Sammlung.