Marx - A Cultural History of Theatre in the Age of Empire

A Cultural History of Theatre

General Editors: Christopher B. Balme and Tracy C. Davis

Volume 1

A Cultural History of Theatre in Antiquity

Edited by Martin Revermann

Volume 2

A Cultural History of Theatre in the Middle Ages

Edited by Jody Enders

Volume 3

A Cultural History of Theatre in the Early Modern Age

Edited by Robert Henke

Volume 4

A Cultural History of Theatre in the Age of Enlightenment

Edited by Mechele Leon

Volume 5

A Cultural History of Theatre in the Age of Empire

Edited by Peter W. Marx

Volume 6

A Cultural History of Theatre in the Modern Age

Edited by Kim Solga

Christopher Balme holds the chair in Theatre Studies at LMU Munich. His publications include Decolonizing the Stage: Theatrical syncretism and postcolonial drama (1999); Pacific Performances: Theatricality and Cross-Cultural Encounter in the South Seas (2007); Cambridge Introduction to Theatre Studies (2008); The theatrical public sphere (2014). He is principal investigator of the ERC Advanced Grant Developing Theatre: Building Expert Networks for Theatre in Emerging Countries after 1945.

Tobias Becker is a Research Fellow at the German Historical Institute London, where he works on the nostalgia wave in the 1970s and 1980s. His research focuses on the history of popular culture and the popularization of history as well as on urban and theatre history. His publications include (with Daniel Morat, Kerstin Lange, Johanna Niedbalski, Anne Gnausch and Paul Nolte) Weltstadtvergngen. Berlin 1880-1930 (2016), Inszenierte Moderne. Populres Theater in Berlin und London, 1880-1930 (2014), and (ed. with Len Platt and David Linton) Popular Musical Theatre in London and Berlin, 18901939 (2014).

Jim Davis is Professor of Theatre Studies at the University of Warwick. His major research interest is in nineteenth-century British theatre and his most recent books are Comic Acting and Portraiture in Late-Georgian and Regency England (2015) and Theatre & Entertainment (2016). He is also joint-author of a prize-winning study of London theatre audiences in the nineteenth century, Reflecting the Audience: London Theatre-going 18401880 (2001). A two-volume edition of nineteenth-century dramatizations of Dickens (with Jacky Bratton) for Oxford University Press is currently in production. He is also an editor of Nineteenth Century Theatre and Film.

Anselm Heinrich is a Senior Lecturer in Theatre Studies at the University of Glasgow. He is the author of Entertainment, Education, Propaganda. Regional Theatres in Germany and Britain Between 1918 and 1945 (2007), Theater in der Region. Westfalen und Yorkshire 19181945 (2012), and he has co-edited a collection of essays on Ruskin, The Theatre, and Victorian Visual Culture with Kate Newey and Jeffrey Richards (2009). He is currently under contract from Routledge to write a book-length study on theatre in Europe under Nazi occupation during the Second World War. Other research interests include contemporary German theatre and performance, dramaturgy and cultural policy.

Zoltn Imre received his PhD from Queen Mary College, University of London (2005), and is now a reader at the Department of Comparative Literature and Culture, Etvs University, Budapest. His publications include Transfer and Translation: Intercultural Dialogues (co-editor, author, 2002), Theatre and Theatricality (2003), Transillumination: Hungarian Theatre in European Context (editor, author, 2004), On the Border of Theatre and Sociology (co-editor, 2005), Alternative Theatre Histories (editor, author, 2008), Staging Theatre Theories, Histories, and Alternatives (2009), Staging the Nation The Changing Concept of the Hungarian National Theatre from 1837 until Today (2013), and various articles on Hungarian and European theatre.

Nic Leonhardt is a theatre and media historian as well as a writer. Her scholarly activities are characterized by a strong interdisciplinary approach and focus on global theatre, media and popular cultures at the turn of the twentieth century as well as on contemporary visual and urban cultures and Digital Humanities. She was visiting professor for Inter Artes at the University of Cologne in 2015 and 2016, and has been the associate director of the Centre for Global Theatre History in Munich. Her book publications include Piktoral-Dramaturgie. Visuelle Kultur und Theater im 19. Jahrhundert (2007), and Durch Blicke im Bild. Stereoskopie im 19. und 20. Jahrhundert (2016). She is also co-editor of the online Journal of Global Theatre History. Her current research focuses on transatlantic theatrical entrepreneurship at the turn of the twentieth century.

Peter W. Marx holds the chair in Media and Theatre Studies at the University of Cologne. He is also director of the Theaterwissenschaftliche Sammlung [Theatre Collection] Cologne. His publications include Theatre and Cultural Memory (German, 2003), Max Reinhardt (German, 2006, currently in translation, forthcoming 2017), A Theatrical Age (German, 2008). He edited a handbook on Drama (German, 2012) and one on Hamlet (German, 2014). He is currently writing a book on Hamlets Voyage to Germany.

Derek Miller is an Assistant Professor of English at Harvard University where he teaches courses about theatre history and dramatic literature. His research on copyright, music-as-performance, and applying digital humanities methods to Broadway history has appeared in Theatre Journal, Contemporary Theatre Review and Studies in Musical Theatre. He is currently completing a monograph on the nineteenth-century development of performance rights laws.

Sophie Nield is a Senior Lecturer at the Department of Drama, Theatre and Dance, Royal Holloway, University of London. She works on aspects of nineteenth-century performance and cultural histories, and on questions of space, theatricality and representation in political life and the law. Recent publications have appeared in Contemporary Theatre Review, Social History and About Performance, focusing on the figure of the refugee, the theatricality of protest and the political viability of the riot from the nineteenth century to the present day.

Laurence Senelick is Fletcher Professor of Drama and Oratory at Tufts University, a Fellow of the American Academy of Arts and Sciences, and a Distinguished Scholar of the American Society for Theatre Research. He is the author of some 25 books and over 100 articles, including Gordon Craigs Moscow Hamlet (1982); The Age and Stage of George L. Fox (1988); The Chekhov Theatre (1997); The Changing Room: Sex, Drag and Theatre