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Mapping Global Theatre Histories
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Mark Pizzato

Mapping Global Theatre Histories

Mark Pizzato

Department of Theatre, University of North Carolina at Charlotte, Charlotte, NC, USA

ISBN 978-3-030-12726-8 e-ISBN 978-3-030-12727-5

https://doi.org/10.1007/978-3-030-12727-5

Library of Congress Control Number: 2019930707

The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG, part of Springer Nature 2019

This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed.

The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.

The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, expressed or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations.

Cover illustration: Lebrecht Music & Arts/Alamy Stock Photo: World Map by Willem Blaeu, Nova totius terrarum orbis geographica ac hydrographica tabula, 1645. Engraved by Joshua van den Enden and included in Blaeus Atlas Novus .

This Palgrave Macmillan imprint is published by the registered company Springer Nature Switzerland AG

The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland

To my mother

Udel Marie Hammack Pizzato,

present in my inner theatre

for a half-century,

as my ideal of goodness

(with fear of loss);

to my father,

John Frank Pizzato,

present in my outer theatre, too,

with beliefs, morals, and love

directing my history;

and to Amanda (Aihua) Zhou

who gives both theatres

new beauty, drama,

and laughter

Acknowledgments

Thanks to all at Palgrave Macmillan who encouraged and shaped this project, especially Nicola Cattini, Tomas Rene, Vicky Bates, and the anonymous readers of the proposal. Thanks to the colleagues who gave me insights, including Dean Adams, Allison Amidei, Bruce Auerbach, Hala Baki, Thomas Burch, Carlos Cruz, Kaja Dunn, David Fillmore, Andrew Hartley, Jorge Huerta, Rick Kemp, Chuyun Oh, Kaustavi Sarkar, Dylan Savage, Joanne Tompkins, Robin Witt, Amanda Zhou, and members of the Pedagogy of Extraordinary Bodies working group at the American Society for Theatre Research conference in fall 2017. Thanks also to Chuyun Oh and Kaustavi Sarkar for help with illustrations here. And thanks to the authors and editors of Wikipedia, who have made many details of theatre history quickly accessible online, with further references given as well.

Thanks to the colleagues who responded to my e-mail query in summer 2017 about a potential theatre history textbook, especially Sarah Bay-Cheng, Cheryl Black, Sara Ellen Brady, David Carlyon, Teresa Durbin-Ames, Susan Kattwinkel, Maiya Murphy, John OConnor, Felicia Ruff, Shannon Blake Skelton, and Nathan Thomas. Thanks to the artists I have met, who gave me insights about their work. These included Kazimierz Braun (who directed me in The Card Index at the University of Notre Dame in 1982, welcomed my visit to his theatre in Poland, and co-wrote a play with me that he staged at Swarthmore College in 1986), Herbert Blau (my dissertation mentor, 19881992), Ola Rotimi (who lectured in one of my classes), William Sun (who discussed playwriting with me and introduced me to others), Richard Schechner (who discussed rasas with me), and Goran Stefanovski and Caridad Svich (who spoke with me recently). Also, thanks to my students at the University of St. Thomas (19921997) and University of North Carolina at Charlotte (19972019), who helped develop my theatre history courses, more and more globally, through their inner theatres.

Contents

List of Figures

Fig. 1.1 Left side of human brain, with major lobes, by Henry Vandyke Carter (illustrator), in Anatomy of the Human Body , by Henry Gray, 1918

Fig. 3.1 Map of Greece and Crete (US CIAs World Factbook )

Fig. 3.2 Lysicrates monument, celebrating his win as choregos , 33534 BCE, on the road to the Theatre of Dionysus, Athens (photo: Mark Pizzato)

Fig. 3.3 Theatre of Dionysus, Athens, with a semicircular orchestra in the later Roman redesign (photo: Mark Pizzato)

Fig. 3.4 Ancient Greek theatre at Epidaurus (photo: Mark Pizzato)

Fig. 3.5 Ancient Greek theatre and Temple of Apollo (with the Athenian Treasury behind it) at Delphi (photo: Mark Pizzato)

Fig. 3.6 Proedria in the Theatre of Dionysus, Athens (photo: Mark Pizzato)

Fig. 3.7 Ancient Roman theatre remains at Orange, France, with scaenae frons (photo: Mark Pizzato)

Fig. 3.8 Ancient Roman arena (amphitheatre) at Arles, France (photo: Mark Pizzato)

Fig. 3.9 Underground passageways of the Pozzuoli arena (photo: Mark Pizzato)

Fig. 3.10 Stage floor of the Pozzuoli arena with modern grates over the traps (photo: Mark Pizzato)

Fig. 4.1 Map of Asia (US CIAs World Factbook )

Fig. 4.2 Odissi performance of shringara (love) rasa , with a gavaksha (grilled window) hand mudra as the heroine, Nayika, looks through the window in anticipation and longing (performed by Kaustavi Sarkar, photo by Debojyoti Dhar)

Fig. 4.3 Mask showing Chinese Opera makeup (photo: Mark Pizzato)

Fig. 4.4 Beijing Opera star Tan Xinpei with flag-costume in the film, Dingjunshan , 1905

Fig. 4.5 Chinese puppet theatre, Qibao, Shanghai (photo: Mark Pizzato)

Fig. 4.6 Backstage of Chinese puppet theatre, Qibao, Shanghai (photo: Mark Pizzato)

Fig. 4.7 Talchum characters, Scholar ( Seonbi ) on left and Shaman/Bride ( Gaksi ) on right, from Byeolsingut Talnori at the Andong Maskdance Festival, Hahoe Folk Village, South Korea (photo courtesy of Kim Eun-Jeong)

Fig. 4.8 Indonesian, wayang kulit puppet, Sita from the Ramayana (photo: Mark Pizzato)

Fig. 4.9 Wayang golek puppet (photo: Mark Pizzato)

Fig. 5.1 Reims Cathedral of Our Lady, exterior (photo: Mark Pizzato)

Fig. 5.2 Reims Cathedral, interior with side columnswhere mansions were probably positioned as spectators stood near, without chairs in the nave (photo: Mark Pizzato)

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