
Contents
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Theatrical Globalisation: Standardisation through Diversity Theatrical Globalisation: Standardisation through Diversity
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Institutions in Motion Institutions in Motion
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The Five Faces of Theatrical Globalisation The Five Faces of Theatrical Globalisation
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Conclusion Conclusion
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Notes Notes
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Bibliography Bibliography
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1 Theatre and Globalisation: Theoretical and Historical Dimensions
Get accessChristopher Balme holds the chair in theatre studies at Ludwig-Maximilians-Universität, Munich. His publications include Decolonizing the Stage: Theatrical Syncretism and Postcolonial Drama (Clarendon Press, 1999); Pacific Performances: Theatricality and Cross-Cultural Encounter in the South Seas (Palgrave Macmillan, 2007); Cambridge Introduction to Theatre Studies (Cambridge University Press, 2008); The Theatrical Public Sphere (Cambridge University Press, 2014); and The Globalization of Theatre 1870–1930: The Theatrical Networks of Maurice E. Bandmann (Cambridge University Press, 2020). He is the principal investigator of the ERC Advanced Grant ‘Developing Theatre: Building Expert Networks for Theatre in Emerging Countries after 1945’.
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Published:23 October 2023
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Abstract
The first section of the essay argues that theatrical globalisation begins in the second half of the nineteenth century with the rapid expansion of transportation, trading, and communication networks. It discusses some definitions of globalisation, especially its influential variant, glocalisation, and how we can use these terms in a theatrical context. It draws on David Singh Grewal’s notion of standardisation as a prerequisite for networked globalisation. The essay proposes that we look at theatrical globalisation from the perspective of ‘institutions in motion’, that is, the transferral of theatrical practices in different cultural environments. The global diffusion of Stanislavsky’s ‘method’ is a case in point. The main part of the chapter revisits Peter L. Becker’s influential theory of cultural globalisation and reformulates it under the heading ‘the five faces of theatrical globalisation’: marketisation, musicalisation, festivalisation, mediatisation, and musealisation. The essay demonstrates how these phenomena can be applied to current developments, especially in but not restricted to musical theatre.
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