1st Edition
Theatre and Internationalization Perspectives from Australia, Germany, and Beyond
Theatre and Internationalization examines how internationalization affects the processes and aesthetics of theatre, and how this art form responds dramatically and thematically to internationalization beyond the stage.
With central examples drawn from Australia and Germany from the 1930s to the present day, the book considers theatre and internationalization through a range of theoretical lenses and methodological practices, including archival research, aviation history, theatre historiography, arts policy, organizational theory, language analysis, academic-practitioner insights, and literary-textual studies. While drawing attention to the ways in which theatre and internationalization might be contributing productively to each other and to the communities in which they operate, it also acknowledges the limits and problematic aspects of internationalization. Taking an unusually wide approach to theatre, the book includes chapters by specialists in popular commercial theatre, disability theatre, Indigenous performance, theatre by and for refugees and other migrants, young people as performers, opera and operetta, and spoken art theatre.
An excellent resource for academics and students of theatre and performance studies, especially in the fields of spoken theatre, opera and operetta studies, and migrant theatre, Theatre and Internationalization explores how theatre shapes and is shaped by international flows of people, funds, practices, and works.
Section 1: Introduction
1. Theatre(s) and Internationalization(s)
Ulrike Garde and John R Severn
Section 2: Theatre and Internationalization: Snapshots from the Twentieth Century to Today
2. 1930s Jazz Operettas and Internationalization Then and Now: Risks, Ethics, Aesthetics
John R Severn
3. Visualizing the Entrepreneurial Networks of International Entertainment: The Dalrays Touring Beyond the Tivoli, 1956-66
Jonathan Bollen
4. Localizing Aboriginal and Pacific Performance on Internationalized Stages, 1967-73
Amanda Harris
5. Collaborative Creation across Borders and Art Forms: A Director’s Perspective on Opera and Internationalization
Sally Blackwood
Section 3: Language and Text in Theatre and Internationalization
6. Negotiating Unfamiliar Languages and Accents in Contemporary Theatre
Ulrike Garde
7. Dramaturgical Oper(a N)ations: De-internationalization in Twenty-First Century American and German-language Libretti
Amy Stebbins
8. Criticizing Globalization in a Theatre of Internationalization?: Concepts of Theatrical Space between Dissolution and Demarcation in Falk Richter’s Electronic City (2003) and Safe Places (2016)
Felix Lempp
Section 4: Internationalization in Contemporary Theatre
9. Internationalization and Contemporary German-speaking Theatremakers and Playwrights
Johannes Birgfeld
10. Who’s Watching? Neo-realism and Global Brand Ibsen in Germany and Australia
Margaret Hamilton
Section 5: Internationalization, Performers, Audiences, Institutions
11. Migration and Theatre in Berlin: The Maxim Gorki Theater and the Komische Oper Berlin
Brangwen Stone
12. Young Artists, International Markets: Legitimizing Myths and Institutional Strategies
Benjamin Hoesch
13. International Percolations of Disability Aesthetics in Dance and Theatre
Christiane Czymoch, Kate Maguire-Rosier, and Yvonne Schmidt
Biography
Ulrike Garde is Head of German Studies at Macquarie University, with research interests covering German intercultural studies and theatre. Her most recent book, co-authored with Meg Mumford, is Theatre of Real People: Diverse Encounters at Berlin’s Hebbel am Ufer and Beyond (2016).
John R. Severn is a Research Fellow at Macquarie University. He is the author of Shakespeare as Jukebox Musical (Routledge, 2019) and is currently working on an Australian Research Council-funded Discovery Project on the economic and cultural value of theatre in Australia.
"Theatre and Internationalization prompts readers to reflect across a broad range of topics and presents them with useful tools to carry out further study. The studies found here will be particularly useful towards developing a language to articulate the complex realities of stage practice and performance, drawing from a considerable theoretical apparatus. The case-study approach grounds the contributions and ensures their concreteness, in an area of study that would otherwise risk falling into sterile abstraction." Serra Porteiro, Scenario, p. 165.
