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Ankündigung: neues Buch

978-3-8471-0805-4_600x600In Kürze erscheint meine jüngste Monographie Theater über Ozeane. Vermittler transatlantischen Austauschs (1890–1925) bei Vandenhoeck & Ruprecht, Göttingen.

Aus dem Klappentext:

“Sei es Artistik, Oper, Tanz, Schauspiel, Musical, Comedy oder Drama: die internationale Theaterszene im späten 19. und frühen 20. Jahrhundert wurde stark gesteuert durch die Profession des Vermittlers. Dieser Band betritt die infrastrukturellen »Hinterbühnen« globaler kultureller Mobilität im Zeitraum von 1890 bis 1925. Diskursiv verortet sich die Studie im Forschungsfeld der Globalgeschichte und -theorie. Der gewählte geografische Fokus ist ein transatlantischer, begründet durch den regen Austausch zwischen Europa und Nord- sowie Südamerika. Gesteuert wurde dieser Austausch wesentlich durch professionelle, international tätige Theatervermittler (Agenten, Broker). Die enorme Handlungsmacht der Vermittler im fokussierten Zeitraum wurde bisher kaum wissenschaftlich erforscht.”

Am Beispiel ausgewählter Agentinnen und Agenten – der Amerikanerin Elisabeth Marbury, der in Budapest geborenen deutsch-Amerikanerin Alice Kauser, des österreichisch-amerikanischen ‘Globetrotters’ Richard Pitrot und des in Deutschland geborenen ehemaligen Kontorsionisten H. B. Marinelli – erörtere ich in diesem Buch die Professionalisierung und Praktiken künstlerischer transatlantischer Vermittlung.

Conferences / Symposia · European Theatre · Global Theatre History · Theater international · Theatergeschichte · Theatre History · Transatlantic Cultural Exchange · Transnational History · Vortrag, Public Talk

Conference Talk: ”The show business has gone all to pieces”. 11 July, #IFTR 2018

Franz Marc, Tierschicksale / Fate of the Animals, 1913. (“Die Bäume zeigten ihre Ringe. Die Tiere ihre Adern”/ “The trees showed their rings. The animals their veins.”)

At this year’s world congress of the International Federation for Theatre Research (IFTR) in Belgrade, Serbia (9-13 July, 2018),  I will give a talk about ““The show business has gone all to pieces” – Theatrescapes, Mobility and Stasis during World War I. 

In The Birth of the Modern World. A global history 1780-1914 (2008) the British historian Christopher A. Bayly used the formulation of a “paradox of globalization” to describe what initially seemed as two contradictory processes of globalization in the nineteenth and early twentieth century: On the one hand, the period from the mid-nineteenth century up to the First World War saw the formation of political, economic and ideological views of the sovereign nation state. On the other hand, there was an increasing and dynamic global interconnectedness and cultural mobility. Theatre plays an important role in this ‘two-faced’ dynamics in that it both serves as a ‘carrier‘ of nationalist and representational ideas, and is subject to an increasing transregional/ transnational mobility at the same time.

Between the late nineteenth and the early twentieth century theatrical productions, performers, and plays circulate (often globally) on a larger scale than ever before, enabled by improved infrastructures of communication and transport.

By following the professional paths of selected theatrical agents, impresarios and performers, in my paper, I will focus on the impact the outbreak of the First World War had on the mobility of theatre. Based on primary material, and by applying perspectives of global theatre history, I shall demonstrate to what extent the War cut the infrastructural routes and trails of migration, and forced a massive ‘setback‘ and re-direction of theatrical practices and individual careers.

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Transatlantic Cultural Exchange

Transatlantic Theatrical Traces


In the context of my research on transatlantic theatrical exchanges between 1900 and 1930 I conducted extensive research at the Shubert Archives  in New York City within the last few years (among other archives in North America and Europe) ( This beautiful archive, located underneath the roof of the Lyceum Theatre close to Times Square (45th Street, between 6th and 7th Avenue), is one of the most remarkable collections for studying the business side of theatrical history. Mark Swartz, archivist thereat and editor of the Shubert Archive’s Newsletter The Passing Show encouraged me to write an article about my research based on the material I had the pleasure to study at the Archive. And so I did. The respective issue with my article “Transatlantic Theatrical Traces: Oceanic Trade Routes and Globetrotting Amusement Explorers” just came out:

I would like to cordially thank Mark Swartz, Maryann Chach and Sylvia Wang from the Shubert Archive for all their curatorial support and countless inspiring conversations on American theatre around 1900.


Conferences / Symposia

Theatrescapes – Conference Programme out now!

From 19-21 June, speakers from Australia, Bangladesh, Brazil, France, Germany, Hungary, Japan, New Zealand, Poland,  Portugal, UK, USA representing 10 disciplines shall discuss the intersection of media, migration and the creation of new translocal publics in the field of  theatre between 1850 and 1950. Papers shall address the following sub-topics:

  • Theatre and global media (how did performers, entrepreneurs, directors interact with global media, and how did global media foster the global dissemination of theatrical material (plays, formats, institutions, etc.)
  • Translocal publics (the emergence of theatrical public spheres in situations of cross-cultural contact)
  • The press and globalized theatrical reading publics
  • Networked stages (transnational interconnections of producers and productions, impresarios and agents)
  • New urban centres as theatrical contact zones
  • Theatre-building as a (inter)cultural act

The event is taking place at IBZ Munich.

I would like to thank the Fritz Thyssen Foundation ( for the financial support!

Theatrescapes Conference Programme 19-21 June