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  • Davis, Tracy C. Und Peter W. Marx (HG.) - 2021 - The Routledge Companion To Theatre and Performance Historiography - S.1-40, 327-348

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    Davis, Tracy C. und Peter W. Marx(Hg.)_2021_The Routledge Companion to Theatre and Performance Historiography_S.1-40, 327-348

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    178 views37 pages

    Davis, Tracy C. Und Peter W. Marx (HG.) - 2021 - The Routledge Companion To Theatre and Performance Historiography - S.1-40, 327-348

    Uploaded by

    Ignacio Pastén López

    Copyright:

    © All Rights Reserved
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    of 37
    THE ROUTLEDGE COMPANION TO THEATRE AND PERFORMANCE HISTORIOGRAPHY Edited by Tracy C. Davis and Peter W. Marx Collaborating Editors: Leo Cabranes-Grant Pavel Drabek Robert Henke Odai Johnson Heike Roms Liz Son Margaret Werry RR tower, Teowisie 2 Pk guar, Mion fit Alon, Oxon OXI RN sevanan ER a ta of Ta a ii sis Thy € Das an ee Men oe se te ton Aig ome No pus af i ik ny end oe paeed ewibd ‘rag or esi ten, without pero in writ oe he pubes Cadel we wed ayer exist Teall events, dsvween amass hod, and ests of the and perma documentation 10 the achive ww aceon, pres, an dnd these matron the apa fr is oui sles ad bed asters ade the lend iaginton end hl the detain dv eden, ths bo gaily dee. CONTENTS List of fg Lis of cntitos Prefice Introduction: on Critical Media History Tiny C. Davi and Peter Mars PART ‘Theatre history is performance history 1 The size ofall thats missing Od Johnson Gyo laden a doll house redux Natasa Korda 3. Rethinking categories of theatre and performance: archive, scholarship and practices (a post-colonial Indian perspective) Bislowpriye Dur 4 Dancing with the living dead: tate violence in South Korea and the performance of memory Elisabet 1 So 5 Seusidedness Thay C. Die a a 65 86 104 18 Contents Parra Materiality and the sensorium 6 Petformatic archives: mobilising affects in eighteenth-century Mexico Lao Calrane- ‘century German theatre The moderne obssion with conststinga distinc historia moment, ‘once (with fotos) violently ce against the pat, became legible 2 rope, bur Warstat ‘mines the concep in elation to ashes egies tht seceded modernism, Scaling (One chariterisie of theactehistory i the variable scaling of ts 8 is seating ofits focus, zooming in to specific dct oft single event of rooming out to more generalised and macroscopic perspecaes ‘Thomas Post helps make this point when he cites thee examples of microhixories, “Tracy Davie ad Peter W. Mare 0.18 Nawal at at Cologne Canale sesh century Ptograth Reprotcedcoutey of hexervechaliche Summing, ery of Clog fa-teagth works hat matk“a return to narrative history" (2000, 97). Mare Baers These and isn Late Cag Loon 1992) ssaie he Old Price Riot at Covent Garden Theatre {Condon 1809) es a even than a sxty-four-day sequence of disturbances that volved potent ouside and within the audriom, reacdons from the management, and sage pefor- ances drowned ut by bosetous oppostion to arise in pices at che newly rebut heats ‘Atopecher it was not so much a singe sot a¢ an snermitent, cooninate, agovistictomul. Poulet’ sription ofits mierhitory mars Bars breach with che eations of bogsapy tou inmtusional story toring instead to questions of how clas confit ated over access to cute, business decisions led to architeceue incongruent with clral more, nd resis~ ne procest ised media ations sack placards and carivai fis mirohitory becaoe it ‘ales up the extended episode ofthe OM Price Rts and shows how the confit could pens tos he rioters eriumphed W. Davies King Henry fing itera: Theva Engagements wih “Gna Conon Doyle Gee Berend Sha, Elle Try, Evard Gost Cri, Late ora Cilte, ‘nomed Chery Os Mo Hi and Higar (1993) takes 3 is departure pin the production of seneetmelodeama,Arihut Copan Doyle's Story of ter (1895) but ste le promises ‘he book anges fr aie ftom this production to explain “an especily complex moment of “ks history a moment of paradigm shi” about modernism (xe, King st the old guard ‘fain the new with eis moment and more nominally hs production) Flam between ce ondes.sexthedcsand sets of exponents From the perspective of lvng’s Lyceum Theatre, “FSi aftFinon iss ientimental homage tothe paving ofa bate st eteran1¢ was thus lay ot (diag) epportuniy, yer in 1895 form, gence. tone, and techniques were out of sep On Cita Medi tory wth the moment. King exploits these tensions to write a microbistory with epochal imlics- ‘ons Joh Donclaue's reconstructed cial edition of The Inport ef Being Eanes (1998) Perhaps he gold standard of dramatargcal editing obsession with replete itty propstes ‘countess micronarrisves subsimed t the eventhiood ofthis istantiation ofthe ply init fist performance, and the horizon of interpretation for the audience of 14 February 1895. mas five tome acumuates to elucidate a few hours of trting and fetng upon the sage. Ths, ven the (feduced) sale of microhstory allows fr extraordinary varihty, dep of focus and sppeach. ‘Stefan Hulfld undertaker such an exerci in sang in his analysis of Viennese social and politcal ife during the weeks ofthe 1848 Revelation Fotepoing 2 genuinely microscope per spective, Holfeld dscuses mois of evolutionary expression ating nthe serets and ken up tn theates Various stots (the empetor, court students and theatre adiences) exerted specific ‘practices to create an aesthess ofthe cllecsve experince of he evlving politic ssation.As the see and theatre performances ewal;the cont was acted out and esalved in fivour of the monatchical system The interrelation of macerialities and te experience of performances is taken ino view from a diferent ange by Sharon Aronson-Lehavi, Recording (am Eng term resonant with diferent meaning al of which ae ac play het) challenges a reigning perspec- tive of performance as ephemera She explores how VHS recordings are reearher att tdscover a production’ evliton and thereby the way that public experienced aesthess The Imatralty of dese recordings i ewentiak in contrat to expensive forms of film recording, ‘VES wat the fie technology to allow foran abundance of recordings and this fearore begs for Iovieal consideration Siyuan Lis invests 4 project to bring tgether audi recondings of teaitonl jing (Bejing opera). The derenc materiales bear wines to politically indeed Jmerrapson of the form daring the Cultural Revoition, He works aeos two types of cling, ‘one the echnical mach of puting opether diferent kindof records nota reconstructions bot as reconsttusons of mulile pu performances, and the ather the recovery of evidence of ast” careers despite their supposed sappression bythe rege. As the Vining project shows, desta fms muy survive extreme poi resticuoa: Liu finds not only 3 repos tory for historia consideration but sb an indispensable resource fr retelling the bistory of individuals Pavel Desbek approaches scaling from a more geneal pint of view: posting mod- cling a a cok technique sneinsc to theawe/performance The maguet, like the puppet, fsa material manfeation of «foundational principle of approaching the wor. Thus sing becomes recogniable in apataies and practices that exemplify dheaue/peeformance, with viene dating fom neatly 31,00 year ago. “To a certain extent, theatre history reaiss what Ciflord Geertz poste for ethnology He demands a itensiv, microscopic analysis only to conclude: This snot o sy that there steno lnge-scale anthropological interpreutions of whole societies, cviations, world evens and s0 on 1 merely to say that che athro- pologit chiactericaly approaches such broader inceepretations and more abstract, Enalyes fom the diection of exceedingly extended aequsitancer with extremely small mates 1973,24 ‘Whereas for quantitative approaches 2 minimum numberof instances must be accrued for a scholar to begin 2 valid analy, theate history finds reliability im diferent eypes of density. Akepending on what the cae (an conjunction with the archives and the historians sill and ingenuity) makes possible Ofen. this pracaice invokes using multiple cricera of daa scription, 3% Tracy € Davis and Peter We Mare ‘methods of data collection, and traditions of data analysis in conjunction. The contibutors to this volame exemplify this eclecticism in iad was “Another example shows some of the potenti of sing to connect performance to dif ferent kinds of ston. In his popular and succenful fice Groff (Ar ofthe Metropolis, 1891), the playwright Oscar Blamenthal, owner of the popular Lessing Theatr in Berin- Mite, includes a small de sory tothe main plot. The flamboyant and philindeving Bern lawyer Lene takes the oenson of vie rom his rural acquaintance Schréder to go out on the town ene pretend ois wife tha hey attend » performance of Goethe's Toquao Tso atthe Royal Court Theatre, when relly they cause in various nightclub The next dy, when Fae Lenz ‘guesins hme uipicotly about his evening. Len pases the ply only for hero read fom the fewspaper The electric light atthe Roy Court Theatre Gale las ight. The perfermance (of Togat To was cancelled andthe theatre remained closed (Bhumenthal and Kadelburg 1907.29, ‘While mail conflict isa staple office, Blumenthal makes + more pointed joke at the ‘expente of his moe pretigioss compe a che Bern theatrical landscape. the Royal Court "Thea and whats repertoire and esthetic stood for, Blumenthal thea vas among che fire in Bevin to be electrified, and the installation of electric ight in theatres, department stores and pubic buildings enhanced insetiont laste 35 modern. Meanwhile, the old ars- tocratic elites indlged in outdated cultural forms such a5 Toyo Tso, and anxiously red to bar the upward social mobility of acer, expecially Jews suchas Blumenthal These tensions in Wilhelmine society played out at rvay between the Lessing Theater and the Royal Court “Theaee Ths case cles up om Frau Le’ fcialgtsha to addres how tecnologia inno ‘ations were matked in theatrical prestige and commerce and inthe late ninetenth-centry Uuban sensorium mote generily, completing rol hearchis. As a successfal and modem ‘stablshment, the Lesing Theater ss exemplary ofthe emergence ofa iberal, metropolitan Culture that catered to a new economic and intellectual ete where men oftlent could fourth outside ofthe perifed cour jem, isthe “eatended scqsintnces with exemely small matters” that allows for these more ‘apacious insights and the hisoriogesphies they enable: ndicatvely. demographic and power Sif, technological transformations, ethetic tends, and even domestic mannes are inhes- tent tothe quip made at Lena's expense and v0 theatre history can sae up to encompass titationaliy Theatre/performance ia social phenomenon tht is producve par becanse it invites complex social and clr swexent to eer it and pay because its the means or ‘making and egstering experiences of social change or contnsty Conceptually cabingis haved fon che acknowledgemens that process of dts coneation ell oth evidence in varios ways. “We began with Kentridge evocation of ellage, a media frm, 0 perform perspectives on history Not al perfrmance-makers ae sach overt hisoriographers, ye by daiming theatre performance a constitutive element in cultura hry and cara storys indelbly const- fated by theate/ performance, Critical Meda History finds hisoriographic foothold of many Kinds The contributors to this Connon invite reconsideration of how theate/performance matters in any register of experience, behaviour, or expresion, This invitation sis emphasis to the practic mediums and modes of generating and absorbing thente/performance. ales esched to it and interpetve schema of histone] thought. Ceital Meda History makes the interplay of theae/performance with othe as, media, and cut fe more apparent, fowering reflection on proces of circulation and re-use, waxing and waning, sasforma- tion and recombination, and balding nd changing epstemologes of how power (i all Aiferent fet) mates itself mand ehough performance bur alo how iis challenged and subverted by i On Cia Matis tory Notes 1 Shunt Volto ple fr European polar to be writen not fom the penpectie ofthe ‘aon but oer asecogabion fins aint in oder w cea» view sad wo pode pea peor 0130 2 Tis progres corms by hore maps Par Hb 140-IRS6; Pla ro Maa it ‘sot ica 90s Pon 2 Tacha 17) Se ao Ce 1. 23 Fors compreecie scout sod ut-metin nage of he fod 7 summit eld 2-27 May 23017 in Torin e he ofl wee (reeney of the Coc of Minar). 4 Bory wing emily for prs es fen podaced by aden thet scholars tun by elince wet for ade pees Biographies ater thn performers recor and haat ae racy bones 5 Thonervnccatiche Saming. Unversy of Cologne not PISRS and PISSK2, Samped “Copy ae & Pde Linked lero ‘= = 6 See Ewin Linders double porta, "CQueen Victoria and ance Abert tthe Bal Costu 12 May {2 Repl Calron Tot RCT a4 Th econo dc 18S Bal a Ltr ened Vitra adios phospah of King George a Have and sen ROH RCIN 2230) and an sur fan 175 all Bein (RING MCSE 0406) 7 Sper nk to Gai Bk Bley and chy Beaton fr thes aboot he Bay Colton # Aeshna Ge 7) tn my Fa oa he References Ada Hu and Risen ro Akay. cs 2018 “Reming Tones Spec ne, Cpe Dia sS fs 2, pander de Omoniher Ree Monch Hesben OaVetag put jan 8 Te aes Cl fa ae Cad Cn Lodo Ves 2S 2 Tn ind Den ot on Le, Oxo Ot ey Pes sats Calf 20. The Thank ae ye Cant Cans Ue Pe Di Tie hbsn of Tae 170-190 Te Teel Ns of Ma E aa, Cn Chl Uenty Pu tase Sal 8 the Chg Pion ofthe Neon Den” Pho 1 0027-8 jos Tae ue Bly Cary Crs Ps Book Ge 21 Shacpds Howie ogee tes WS Hep: ee ety Sa Sih hmm nk Hi” nS dS pal Then ee by “Matei Candea, 108-20. Abingdon: Routledge. - eo i i [Te Bey Dt ew Yo: Appa Thee Boos Biche Rum Due owe omc! Peco enuf Rene ithe Red tie nt ne Cog hay ow Fu Ede of ee eed ye uae id oad Das enon Reve opin sn Ray 19D tg St Aen ei: ch Bi Dail Ried Cron 00 Renate: Cn Seed Can ia Br es ‘Stats. New York: Berghahn. “ — oa se, 18 eb Eel sk Ty, ded ty Heny 8 Teas 128 Oxo Oiled Uitcnty oe Site “ene enn Dama: Newors Paras nena Ena le yt th sey Mates Msn Ba La Bl sn Blin Mle rs 8 Tracy Davis and Peter W. Mars Bune, Mate, e199. Tis Hon Si, Ope Tt Geico Ge oko Row a ae : conga oreo Gieppe Scan 288" Archie Map he Rcomsttion of he hen tupogpy of he Cask sn Rowan Ciy 9 Torna” LAC 204 Pres Mp / ‘dong t0 Suv 0428 Aco Jamar 2020 ‘cai Chou 2015 Poon Powe C5 Ta a ani, Bingo: Prove ‘Ghenin Tea ti 200. Choe Shoe Tae Bio Por Rel, a ee Me lane teGl-Queeas Unies Pe cosh Rie nT ney af Hanbur Mapp” Map Mois lop 13 ay 201% bape hpi oppot coms 2018/7 he ery o-hmbunapped tnd Acese 4 wa oe inn 23 "Abn Tongs on te ee Sage’ A Rewer Despre” TDR Te ‘ras Rn 57 m3 48-0 Sosa Theme in ae Lngitc Previn ad Oo ity” Peper reemedat he inert Fenton Tene Ress scoroenpy ing Coe. Bein Coen Mathew a 2014Tnd nd Fo Taona Han Kat tn Te ts apn leone eed Das NY Pera Osten, Jon Bel 1 Sido Role octonsh Wit, ee th deutch Kony Bein WE Speman tena 2018. Col a ly and Chon oly Landon Pee Bossy © 2004 The Cae: Psion Hse any $8 0.2 3-9 Deve) of Enemy alr nr Co Done Dasha: Dake Uniety Pres 7s Mean Reperote” In Tie Bool Ay neon Bsh Fomor eddy Tey © Dav 1-26 Peeboneg Breen Press aloe heh Mack 21, New od Dams Ti ae Coon he ail, 16 {5% Durban Dale Unnenin rew —_ Done ped 995 One “Fe granef BigEaet A Reem Ctl Teas Fs nau Jan’ Tate Lona, 1895 Cems Cros Col Sapte. al Fo 2014 "Engh Coney a8 Cel Eaopen Maronete Dra A Stay n Theatr rele Im Tana oii Bay Mc Tasted by Robet Henke and Ese Nupobon 19-34 Fanbare Agate tao Ane 15 Offen Recaption of Pinel: The One who Se te Consne fom stn by Seco fo Comsat ote Pret Dy Io The Reese Compson Comm Dh Seley ust Ces Oly Cou 08 Londo Rowdee eh Jol218 Pe Co med Oneal pun on Sea Ae An ‘tar Uanersy 9 Micon Pres Fico, th 207 nial oe Bey Bic Pdi: Unie of Peas Po Cs hac on Pers Fane Gun 2007.°8 New Connon fete Reconsetne Seay uf the Tene sf Torin” Peng 3 IMERO canal Cnn few eh nd Cd Hers 395-40 ys Tick Dep: Tara Ines Toy of Calla Te teetatn Sn Sid Eyed hoe Govt a cbr Darton, 2 New Wek Bs Book ce Ne S06 Te Rony of Se Unde Te Woman Sin le Nein of "Re Cod Ch tn Pt 900140 New York Se Maras Po ‘coh tan Wang om 1857 Thee tgp of vie Th nd Py vo My on “rd Jobs Ose. open Bel & Bal coi Sane 78 TheWoote Wi oEghn!* Moning Chiral au tes Enh Fecte7579 1890. ap. Ken ordppsacion “CET. ec 9 any 208 ‘ices Mar, lob Swo, 1985. The ph of are NewYork: Mac, Ertl Sep 10s, Soke NepeinTe Cho Sota Ee Revs Bg etl: Uaveay of Caras Pe “Bio A Mobiny tutes Mano" Ta Cuba Mes A Majo, eed by Seen Geean, 250-3 Combe’ Cambie Unrest Pes ‘cris Ma Heed 1983 Eig Boe con Bed Bere Wma Aui eg, Gree etanah Bt Papp te By Uncoy e Cheag Uae of hea Pes cl 512 The Reon i Me Shoe Pay and Pa Po Di Mh teen el 6 (On Cita! Media itary Huber Jigen. 190%, Te STi fhe Pe Spo A ay it Cage huge Sy. Cambie, MT oe sea Sabine 2D8°°A Comming of Contmen’ Lge Hybrid, Gea American These, Sol he Arca Puc Te Roa emia on 207-80 "HUN Teo Ste titres nN To, 1880-1920. Usesty ofhimneot Pes ani and Be: A Weta Cie or En nd Amen so 186, Harbor: Wills ‘Oncen esc U 187, fA oe Shasta sb 1846 Dh, ‘Henk, Rober 208 "Border

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