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Schedule

Term 1:

Weeks 1 -5: PRINCIPLES OF THEATRE HISTORIOGRAPHY

Week 1: Introduction to Module

Reading for Week 2

Marvin Carson, ‘The Performance of History’, in Case & Reinelt, eds., The Performance of Power pp.272-279 (copies provided)

Christopher B. Balme, ‘Reciprocal articulations: from playbills to logs’, The Theatrical Public Sphere, Cambridge: Cambridge University Press, 2014, pp. 47-73 (Library on-line)

Joseph Donohue, ‘Evidence and Documentation’, in Postlewait & McConachie, Interpreting the Theatrical Past, pp.177-197 (copies provided)

Christopher B. Balme, The Cambridge Introduction to Theatre Studies (Cambridge University Press, 2008, Chapter 6 ‘Theatre Historiography’ (library on-line)

Task:

Find an example of a historical document to talk about in class

Week 2 Evidence and Documentation

Reading for Week 3

Christopher Balme, ‘Interpreting the Pictorial Record: Theatre Iconography and the Referential Dilemma’, Theatre Research International 22:3 (Autumn, 1997), pp.190-201 (library on-line)

Patricia Smyth, ‘Beyond the Picture-Frame Stage: Late Nineteenth-Century Pictorial Theatre Posters’, Nineteenth Century Theatre and Film 37:2 (Winter 2010), pp. 4-27 (library on-line)

Task: Find an example of iconography – painting of a theatrical scene, theatrical portrait, vase painting, depiction of theatre, costume or set design, architectural plan to discuss in class

Week 3 Iconography

(Guest Lecturer: Dr Patricia Smyth)

Reading for Week 4

Dennis Kennedy, ‘Confessions of an Encyclopedist’, in William Worthen & Peter Holland, eds., Theorizing Practice: Redefining Theatre History, Basingstoke: Palgrave Macmillan, 2006, chapter 2, pp. 30-46 (handout)

Thomas Postlewait, The Cambridge Introduction to Theatre Historiography, Chapter 5 (handout)

Earlier versions of this chapter are in

Thomas Postlewait, ‘The Criteria for Periodisation in Theatre History’, Theatre Journal 40:3 (Oct 1998), pp. 299-318 (library on-line)

Thomas Postlewait, ‘The Concept of “Period Style” in Cultural History: Problems in Definition and Classification’, Nordic Theatre Studies Special issue, 1990, pp.52-5 (handout)

Task: Select a theatre history or dictionary – Phyllis Hartnoll, Theatre: A Concise History (Thames and Hudson); Glynne Wickham, A History of the Theatre (Phaidon); Martin Banham, The Cambridge Guide to Theatre (CUP); Dennis Kennedy, The Oxford Encycopaedia of Theatre and Performance (OUP); Richard Southern, The Seven Ages of the Theatre (Faber); Allardyce Nicoll, World Drama; Oscar Brockett,A History of the Theatre; McConacie, Williams et alia, Theatre Histories; or another similar text of your own choice. In class discuss the assumptions under which the author(s)/editor(s) have selected material (or excluded it) and apply Thomas Postlewait's notion of periodisation to the choices made by the author(s)/editor(s)

Week 4 Periods and Periodisation; Historical & Theatrical Events

Week 5 Curating and Archiving Theatre (Guest Speaker) Dr Jill Sullivan, Bristol University Theatre Collection

Week 6 Reading Week

Weeks 7-10: LOCAL THEATRE HISTORIES or VISUAL CULTURES PROJECT

Reading for Week 7

Read a local theatre history study on a theatre of your choice and be ready to comment on it in class

Read: Ros Merkin, ‘Liverpool’ in David Wiles & Christine Dymkowski, eds., The Cambridge Companion to Theatre History (Cambridge: Cambridge University Press, 2013), pp. 91-103 (library on-line)

Week 7 Local Theatre Histories

Reading for Week 8

Read: Charles Dickens ‘The Amusements of the People’, Household Words, 13 April, 1860/

‘Two Views of a Cheap Theatre’, All the Year Round, 25 February, 1860 (handouts)

Jim Davis, Introduction to The Britannia Diaries (London: Society for Theatre Research, 1992), pp. 1-32.

Copies of Britannia Documents

Week 8 Local Theatre Histories: Case Study: The Britannia Theatre, Hoxton

Week 9 Local Theatre Histories: Group or Individual Class Presentations on Work in Progress

Week 10 Local Theatre Histories/: Group or Individual Class Presentations on Work in Progress

Term 2

Weeks 1-5: THEATRE HISTORIOGRAPHY: THEORETICAL APPROACHES

Reading for Week 1

Thomas Postlewait, ‘Autobiography and Theatre History’, in Postlewait & McConachie, Interpreting the Theatrical Past, pp. 248-272

Jacky Bratton, ‘Anecdotes and Mimicry as History’, in New Readings in Theatre History, pp. 95-108

Leigh Woods, ‘Actors’ Biography and Mythmaking: The Example of Edmund Kean’ in Postlewait & McConachie, Interpreting the Theatrical Past, pp. 230-247

Task: Find an example of theatrical biography or autobiography to discuss in class

Week 1 Biography and Autobiography

Reading for Week 2: to be confirmed

Task: to be confirmed

Week 2 Visual Culture and Theatre History

Reading for Week 3

Christopher B. Balme, ‘Locating the theatrical public sphere’, The Theatrical Public Sphere, Cambridge: Cambridge University Press, 2014, pp. 22-48

David Wiles, Theatre and Citizenship: The History of a Practice, Cambridge: Cambridge University Press, 2011, pp. 1-21, 208-223

Bruce McConachie, ‘The Oriental Musicals of Rogers and Hammerstein’ in

Theatre Journal 46:3 (Oct 1994), pp.385-398

Marvin Carlson, ‘Reflections on a Global theatre History’ in David Wiles & Christine Dymkowski, eds., The Cambridge Companion to Theatre History (Cambridge: Cambridge University Press, 2013), pp. 149-161

http://www.gth.theaterwissenschaft.uni-muenchen.de/index.html Global Theatre Histories

Website

Task: Either Find an example of a performance that could be described as advocating citizenship or engagement in the public sphere to discuss in class or demonstrate how we might map transnational exchange in theatre history

Week 3 Theatre History, Globalisation, Citizenship and the Public Sphere

Reading for Week 4

Jim Davis, ‘Redefining the Nineteenth-century London Theatre Public: Questions of Evidence’, in Erika Fischer-Lichte & Matthias Warstat, eds. Staging Festivity: Theatre und Fest in Europa, Berlin, 2009

Tracy C. Davis, Actresses as Working Women: Their Social Identity in Victorian Culture (London: Routledge, 1991), pp. 78-97

Joseph R. Roach, The Player’s Passion: Studies in the Science of Acting (Newark: University of Delaware Press, 1985), pp. 11-17

Task: Find out about the acting style of a specific period and/or actor (eg. Elizabethan or

Restoration acting, David Garrick or Sarah Siddons) or about audiences in a specific period to

discuss in class

Week 4 Historiography of Acting and Audiences

Reading for Week 5

Robert K. Sarlos, ‘Performance Reconstruction: The Vital Link between Past and

Future’, in Postewait & McConachie, Interpreting the Theatrical Past, pp. 198-229

Jerome de Groot ‘Introduction’ and ‘Performing pastness, recycling culture and cultural re-enactment’ in Consuming History: Historians and Heritage in Contemporary Popular Culture Abingdon: Routledge, 2016)

Task: Find an example of reconstruction (such as the Globe Theatre, the Ballet Russe, Heritage Parks) to discuss in class

Week 5 Performance Reconstruction and Heritage

Week 6: READING WEEK

Weeks 7-10: RESEARCH PROJECT PREPARATION

Week 7 Theatre History & Practice Project

Dr Janice Norwood

Week 8 Approaching Research Projects:

David Coates and Tracy Cattell (guest speakers)

Week 9-10 Class Presentations on Work in Progress


READING LIST

PRIMARY TEXTS

Thomas Postlewait, The Cambridge Introduction to Theatre Historiography (Cambridge: Cambridge University Press, 2009)

Thomas Postlewait & Bruce A. McConachie, Interpreting the Theatrical Past: Essays in the Historiography of Performance (Iowa City: University of Iowa Press, 1989)

SECONDARY TEXTS

Christopher Balme, The Cambridge Introduction to Theatre Studies Cambridge: Cambridge University Press, 2008 (Chapter 6 ‘Theatre Historiography’)

Peter Burke, What is Cultural History (Cambridge: Polity Press, 1988)

J. S. Bratton, New Readings in Theatre History (Cambridge: Cambridge University Press, 2003)

Charlotte Canning & Tom Postlewait (eds.), Representing the Past: Essays in Performance Historiography (Iowa: University of Iowa Press, 2010)

Claire Cochrane & Jo Robinson, Theatre History and Historiography: Ethics, Evidence and Truth (Basingstoke: Palgrave Macmillan, 2016).

Geoffrey Cubitt, History and Memory (Manchester: Manchester University Press, 2007)

Jim Davis (with Gilli Bush-Bailey, Jackie Bratton & Kati Normington), ‘Research Methods in Theatre History’ in Baz Kershaw & Helen Nicholson, eds., Research Methods in Theatre and Performance (Edinburgh: Edinburgh University Press, 2011).

Anthony Jackson and Jenny Kidd, eds., Performing Heritage: Research, practice and innovation in museum theatre and live interpretation (Manchester: Manchester University Press, 2012).

Keith Jenkins, Re-thinking History (London: Routledge, 1991, reprinted, 2003)

Thomas Postlewait, ‘History, Hermeneutics and Narratvity’ in Janellele G. Reinelt & Joseph R. Roach, eds., Critical Theory and Performance Ann Arbor: University of Michigan Press, 1992)

Thomas Postlewait, ‘Writing Theatre History Today’, Theatre Survey 41:2 (November 2000), pp. 83-106.

Joseph Roach, Cities of the Dead: Circum-Atlantic Performance (New York: Columbia University Press, 1996).

Diana Taylor, The Archive and the Repertoire: Performing Cultural Memory in the Americas (Durham and London: Duke University Press, 2003)

Theatre Survey 48:1 (2007) – special issue on theatre history and historiography

W. B. Worhen with Peter Holland, eds., Theorizing Practice: Redefining Theatre History (Basingstoke: Palgrave Macmillan, 2003)

Richard Schoch, Writing the History of the British Stage 1660-1900 (Cambridge: Cambridge University Press, 2016)

David Wiles & Christine Dymkowski, eds., The Cambridge Companion to Theatre History (Cambridge: Cambridge University Press, 2013)