Global Theatre Histories: Modernization and the emergence of a transnational public sphere (1860-1960).

全球戏剧史：现代化和跨国公共领域的出现（1860-1960）。

基本信息

批准号：
101414069
负责人：
Professor Dr. Christopher Balme
金额：
--
依托单位：
Institut für Theaterwissenschaft
依托单位国家：
德国
项目类别：
Reinhart Koselleck Projects
财政年份：
2009
资助国家：
德国
起止时间：
2008-12-31 至 2015-12-31
项目状态：
已结题

来源：
https://gepris.dfg.de/gepris/projekt/101414069?language=en
关键词：
Global Theatre Histories Modernization emergence

项目摘要

The aim of this project is to investigate the emergence of theatre as a globalphenomenon over the past century. Seen from the present it is astounding to manythat theatre, an ‘old’ medium that has been repeatedly pronounced moribund with thearrival of each successive wave of technological media, has in fact continued toflourish and expand.Today, theatre is a global artistic practice, a crucial cultural institution in manycountries and a central part of transnational networks of artistic exchange. Oftendefying exact definition, its manifestations range from improvised street theatre inbackyard slums to multi-million-dollar edifices purveying the latest performances ofnineteenth-century opera to 21st century cultural elites. Despite its bewilderingnumber of forms that include puppet theatre, stand-up comedy and abstractperformance art, theatre-makers and audiences are connected across cultures bymutual recognition of commonality in what they do. Investigation of this artistic andcultural diversity has been a hallmark of theatre and performance studies over the pasttwo decades. The still rapidly expanding disciplines of theatre and performancestudies have devoted themselves primarily to understanding the semantic specificityof performances on the basis of a number of commonly shared theoretical andmethodological tools (in the main semiotics, and more recently phenomenology andperformance theory). What theatre studies has not yet attempted to do is to explainhow this global phenomenon came to be. What were the factors that led to aparticular, mainly Western, artistic practice being exported to and established inentirely diverse cultural environments? How did these processes of transpositionaffect the new host cultures and how did they in turn change the practices beingexported?The project aims to provide a major corrective to existing theatre historiographicalprinciples and research agendas by linking theatrical modernism (as an artisticpractice) and modernization in its political, economic and institutional manifestations.The temporal coordinates of the project parallel the acceleration of colonialism andimperialism leading ultimately to political decolonization in the early 1960s and thegeopolitical realignments marked by the collapse of Eastern European socialism.The main focus will be on hitherto under-researched phenomena: theatrical traderoutes facilitating the movement of theatre artists and productions (in the first period);the creation of new public spheres in situations of cross-cultural contact in multiethnicmetropolitan centres and the dynamics of theatrical modernization in non-Westerncountries.The objectives of the project can be summarized as follows:• to define and theorize theatre as a cultural practice that is not only local but in itsinstitutional manifestations inherently global. It is this focus on the institutional andglobal dimensions as opposed to its aesthetic and local specificities that marks aradical break with existing research paradigms.• to examine the role of theatre in its function and perception as a cultural institutionagainst the background of contemporary debates over the ‘crisis of modernization’and ‘multiple modernities’. In this sense theatre can be regarded as a paradigm forunderstanding how the dynamics and contradictions of modernization led to theemergence of new artistic institutions and the public spheres that support them.• At its most ambitious, the project will result in the establishment of a new subfieldof theatre and performance studies that could be termed – provisionally – globaltheatre histories. Over its five-year period it will demonstrate the ground-breakingpotential of this new approach and outline the interdisciplinary team-basedapproaches necessary to implement it.

这个项目的目的是调查戏剧在过去一个世纪中作为一种全球现象的出现，从现在的角度来看，戏剧这一“古老”的媒介随着每一波连续浪潮的到来而被一再宣告濒临死亡，这让许多人感到震惊。如今，戏剧是一种全球性的艺术实践，是许多国家的重要文化机构，也是跨国艺术交流网络的核心部分，其表现形式常常无法准确定义。从贫民窟后院的即兴街头剧院到耗资数百万美元的大厦，为 21 世纪的文化精英提供 19 世纪歌剧的最新表演，尽管其形式数量令人眼花缭乱，包括木偶剧、单口喜剧和抽象表演艺术，但戏剧制作者们还是乐此不疲。观众通过对他们所做的事情的共同性的相互认识而将跨文化联系起来。在过去的二十年中，对这种艺术和文化多样性的研究一直是戏剧和表演研究的一个标志。戏剧和表演研究主要致力于在许多共同的理论和方法论工具的基础上理解表演的语义特殊性（在主要的符号学，以及最近的现象学和表演理论中）。我们要做的就是解释这种全球现象是如何形成的，导致特定的（主要是西方的）艺术实践被输出并建立在完全多样化的文化环境中的因素是什么？它们反过来又改变了正在输出的实践？该项目旨在通过将戏剧现代主义（作为一种艺术实践）与政治、经济和制度表现形式的现代化联系起来，对现有的戏剧史学原则和研究议程进行重大纠正。该项目与殖民主义和帝国主义的加速发展并行，最终导致 20 世纪 60 年代初的政治非殖民化，以及以东欧社会主义崩溃为标志的地缘政治重组。迄今为止研究不足的现象：促进戏剧艺术家和作品流动的戏剧贸易路线（第一阶段）；在多民族大都市中心跨文化接触的情况下创建新的公共领域以及非非国家戏剧现代化的动态西方国家。该项目的目标可概括如下： • 将戏剧定义为一种文化实践，并将其理论化，这种文化实践不仅是地方性的，而且其制度表现本质上是全球性的。正是这种对制度的关注。和全球维度，而不是其美学和地方特殊性，这标志着与现有研究范式的彻底决裂。• 在当代关于“现代化危机”的争论的背景下，审视戏剧作为一种文化机构的功能和认知中的作用。从这个意义上说，戏剧可以被视为理解现代化的动态和矛盾如何导致新的艺术机构和支持它们的公共领域的出现的范例。•在最雄心勃勃的情况下，该项目将产生结果。在建立一个新的戏剧和表演研究子领域，可以暂时称为全球戏剧史，在五年的时间内，它将展示这种新方法的突破性潜力，并概述实施它所需的跨学科团队方法。。