Theatre and Internationalization

Theatre and Internationalization examines how internationalization affects the

processes and aesthetics of theatre, and how this art form responds dramatically
and thematically to internationalization beyond the stage.
With central examples drawn from Australia and Germany from the 1930s
to the present day, the book considers theatre and internationalization through
a range of theoretical lenses and methodological practices, including arch-
ival research, aviation history, theatre historiography, arts policy, organizational
theory, language analysis, academic-​practitioner insights, and literary-​textual
studies. While drawing attention to the ways in which theatre and internation-
alization might be contributing productively to each other and to the commu-
nities in which they operate, it also acknowledges the limits and problematic
aspects of internationalization. Taking an unusually wide approach to theatre,
the book includes chapters by specialists in popular commercial theatre, dis-
ability theatre, Indigenous performance, theatre by and for refugees and other
migrants, young people as performers, opera and operetta, and spoken art
theatre.
An excellent resource for academics and students of theatre and performance
studies, especially in the fields of spoken theatre, opera and operetta studies, and
migrant theatre, Theatre and Internationalization explores how theatre shapes and
is shaped by international flows of people, funds, practices, and works.

Ulrike Garde is Head of German Studies at Macquarie University, with

research interests covering German intercultural studies and theatre. Her most
recent book, co-​authored with Meg Mumford, is Theatre of Real People: Diverse
Encounters at Berlin’s Hebbel am Ufer and Beyond (2016).

John R. Severn is a Research Fellow at Macquarie University. He is the

author of Shakespeare as Jukebox Musical (Routledge, 2019) and is currently
working on an Australian Research Council-​funded Discovery Project on the
economic and cultural value of theatre in Australia.
Theatre and
Internationalization
Perspectives from Australia,
Germany, and Beyond

Edited by
Ulrike Garde and John R. Severn
First published 2021
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
52 Vanderbilt Avenue, New York, NY 10017
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2021 selection and editorial matter, Ulrike Garde and
John R. Severn; individual chapters, the contributors
The right of Ulrike Garde and John R. Severn to be identified as the authors
of the editorial material, and of the authors for their individual chapters,
has been asserted in accordance with sections 77 and 78 of the
Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised
in any form or by any electronic, mechanical, or other means, now known or
hereafter invented, including photocopying and recording, or in any information
storage or retrieval system, without permission in writing from the publishers.
Trademark notice: Product or corporate names may be trademarks or registered trademarks,
and are used only for identification and explanation without intent to infringe.
British Library Cataloguing-​in-​Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging-​in-​Publication Data
Names: Garde, Ulrike, 1964–​editor. | Severn, John R., 1968–​editor.
Title: Theatre and internationalization : perspectives from Australia,
Germany, and beyond /​edited by Ulrike Garde and John R. Severn.
Description: Abingdon, Oxon; New York: Routledge, 2021. |
Includes bibliographical references and index. |
Identifiers: LCCN 2020022720 (print) | LCCN 2020022721 (ebook)
Subjects: LCSH: Theater and globalization–​Germany. |
Theater–​Germany–​History–​21st century. | Theater and globalization–​Australia. |
Theater–Australia–​History–​21st century. | Theater–​Political
aspects–​Germany. | Theater–​Political aspects–​Australia.
Classification: LCC PN2041.G56 T47 2021 (print) |
LCC PN2041.G56 (ebook) | DDC 792.01–​dc23
LC record available at https://​lccn.loc.gov/​2020022720
LC ebook record available at https://​lccn.loc.gov/​2020022721
ISBN: 978-​0-​367-​46354-​0 (hbk)
ISBN: 978-0-367-61008-1 (pbk)
ISBN: 978-​1-​003-​02840-​6 (ebk)
Typeset in Bembo
by Newgen Publishing UK
Contents

List of figures  viii

List of contributors  ix
Acknowledgments  xiv

PART 1
Introduction  1
1 Theatre(s) and internationalization(s)  3
U L RI K E GARD E AND JO HN R. SE VE RN

PART 2
Theatre and internationalization: snapshots from the
twentieth century to the present day  35
2 1930s jazz operetta and internationalization then
and now: risks, ethics, aesthetics  37
J O H N R . SE V E R N

3 Visualizing the entrepreneurial networks of international

entertainment: The Dalrays touring beyond the
Tivoli, 1956–​66  55
J O N ATH AN B OLLE N

4 Localizing Aboriginal and Pacific performance on

internationalized stages: 1967–​73  72
A M AN DA H A RRI S

5 Collaborative creation across borders and art forms: a

director’s perspective on opera and internationalization  88
S A LLY B L AC K WO O D
vi Contents
PART 3
Language and text in theatre and internationalization  107
6 Negotiating unfamiliar languages and accents in
contemporary theatre  109
U LRI K E GARD E

7 Dramaturgical oper(a n)ations: de-​internationalization

in contemporary opera libretti  128
AM Y S T E B B I NS

8 Criticizing globalization in a theatre of

internationalization?: concepts of theatrical space between
dissolution and demarcation in Falk Richter’s Electronic City
(2003) and Safe Places (2016)  146
F E LI X LE M PP

PART 4
Internationalization in contemporary theatre  161
9 Internationalization and contemporary German-​speaking
theatre makers and playwrights  163
JO H A N N E S BI RGFE LD

10 Who’s watching? neo-​realism and global ‘brand Ibsen’ in

Germany and Australia  179
M ARGARE T HAMI LTO N

PART 5
Internationalization, performers, audiences, institutions  197
11 Migration and theatre in Berlin: the Maxim Gorki Theater
and the Komische Oper Berlin  199
B R AN G W E N STO NE

12 Young artists, international markets: legitimizing myths and

institutional strategies  215
B E N JA M I N HO E SCH
 Contents vii
13 International percolations of disability aesthetics in
dance and theatre  232
C H R I STI AN E CZY MO CH, K ATE MAGUI RE - ​RO SIER ,
A N D Y VO N N E SCHMI D T

Index  250
Figures

3.1 The Dalrays’ Asian circuit, 1958–​60  58

3.2 The Dalrays’ engagements in Western Europe, Scandinavia,
and the Middle East, 1960–​63  63
3.3 The Dalrays’ tour of Europe, America, Australia, and Asia,
1964–​66  65
3.4 The Dalrays’ field of operation and spheres of influence,
1958–​66  67
4.1 Aboriginal Theatre Foundation Performers in Osaka, 1970.
Dhambuljawa Burarrwanga, Rrikin Burarrwanga, Mulun
Yunupingu, Wulurrk Mununggurr, Banambi Wunungmurra,
Justin Purantatamiri, Max Kerinaiua, Henry Kerinaiua, David
Gulpilil, Dick Budalil, Talbert Jalkarara, Djoli Laiwanga, David
Blanasi, Felix Wambunyi, Lawrence Biellum. International
Exhibition Expo 70 Osaka Japan – Aboriginal Dance
Ensemble F1, 1968/3396, National Archives of Australia
(NAA), Darwin  73
5.1 Euridyce’s Funeral, Orfeo by Sasha Waltz & Guests  92
5.2 Orfeo and Euridyce Orfeo by Sasha Waltz & Guests  97
5.3 Faust’s Demons, Project Faust by Louisville Ballet and
Kentucky Opera  101
5.4 Girl-​Child scene rehearsal, Project Faust by Louisville
Ballet and Kentucky Opera  103
6.1 Mazen Aljubbeh, Karim Daoud, Kenda Hmeidan, and Jens
Dohle in Elizaveta Bam, Maxim Gorki Theater  119
7.1 Trio from Orlando,Vienna State Opera  139
7.2 Orlando and list of Holocaust victims,Vienna State Opera  142
11.1 Monument by Manaf Halbouni, Berlin  208
11.2 Advertising column featuring Banu Cennetoğlu’s List, Berlin  209
Contributors

Johannes Birgfeld teaches modern German literature at Saarland University.

His main research interests are the history of theatre and drama in German(y)
from 1500 to the present time and literature of the eighteenth, twentieth,
and twenty-​first centuries. He has published on a wide spectrum of writers
and issues from Andreas Gryphius, Lessing, Gellert, and Kotzebue to Kafka,
Christian Kracht, and contemporary German drama. In 2012 he initiated
the Lectureship in Theatre Studies at the University of the Saarland in
Germany (Saarbrücker Poetikdozentur für Dramatik). Since then, he has
organized annual lectures that aim to put the work of theatre practitioners
in conversation with the concerns of theatre academics. These practitioners
include renowned theatre makers, playwrights and performance collectives
such as Rimini Protokoll, Roland Schimmelpfennig, Kathrin Röggla, Albert
Ostermaier, Falk Richter, Milo Rau, and She She Pop. Johannes Birgfeld
has also interviewed all of these guest practitioner-​lecturers and has edited
and published critical editions of their lectures with renowned German
publishers (Theater der Zeit, Alexander Verlag).
Sally Blackwood is an opera director producing new work internationally.
A regular guest director at Opera Australia and the Sydney Conservatorium
of Music, and lecturer at the National Institute of Dramatic Art (NIDA),
Blackwood is an opera architect specializing in the creation of new oper-
atic form. Blackwood is a directing graduate of the National Institute of
Dramatic Art (NIDA), holds a Bachelor of Arts (Hons) from the University
of New South Wales, and is a current PhD candidate at the University of
Sydney, and recipient of the George Henderson Scholarship of Merit. Her
most recent creation, Project Faust with Kentucky Opera and Louisville
Ballet, described as ‘an antidote for our age of entitlement’, premiered in the
USA in March 2018. Blackwood is a passionate advocate for gender equity
and diversity in opera and her PhD research explores a radical rethinking of
opera in Australia.
Jonathan Bollen is Senior Lecturer in Theatre and Performance Studies at
the University of New South Wales. His recent book, Touring Variety in the
Asia Pacific Region, 1946–1975 (Palgrave, 2020) traces the formation of
x List of contributors
regional touring during the ‘jet-age’ of commercial aviation, drawing on
archival research in Brisbane, Hong Kong, Manila, Melbourne, Singapore,
Sydney, Tokyo, and Taipei. He is the co-​author of two other books: A
Global Doll’s House: Ibsen and Distant Visions (Palgrave, 2016) and Men at
Play: Masculinities in Australian Theatre since the 1950s (Rodopi, 2008). He
also has experience in the digital humanities, developing collaborative
methodologies for theatre research and techniques for visualizing artistic
networks and tours. He coordinated research for AusStage, the database
of Australian live performance, from 2006 to 2013. He contributed to the
development of IbsenStage at the University of Oslo and the Philippine
Performance Archive, and is an advisor to the international AHRC-​funded
project ‘Dunham’s Data: Katherine Dunham and Digital Methods for Dance
Historical Inquiry’ (UK/​USA). His next project, undertaken in collabor-
ation with Joanne Tompkins, Julie Holledge, and Liyang Xia for Cambridge
University Press, explores virtual reality technologies and three-​dimensional
architectural models for historical research on theatre venues.
Christiane Czymoch is a PhD candidate in Theatre Studies at Johannes
Gutenberg University Mainz, Germany. In her Master’s thesis, which was
published in 2014, she searches for the subversive potential in the performa-
tive reflection of images of femininity and their transgression in the work
of three British live artists, based on Judith Butler’s and Victor Turner’s the-
ories of performativity of identity and culture. Her current academic work
is concerned with the intertwining of politics and aesthetics in rehearsals
of dance and performance created by artists with disabilities. She is based
in Berlin and works as a subtitler for people with hearing impairments at
German broadcasting station ARD. Recently, she also started working with
the Centre for Visual Communication, Potsdam, assisting deaf interpreters
for television programmes.
Ulrike Garde is the Head of German Studies in the Department of
International Studies: Languages and Cultures at Macquarie University. Her
research interests range across contemporary German and Australian drama
and performing arts in international and intercultural contexts. Past research
projects and publications have included studies on Bertolt Brecht, the recep-
tion of German-​speaking playwrights in Australia (Brecht & Co: German-​
speaking Playwrights on the Australian Stage), and on the creation of cultural
identity in inter-​and transcultural contexts. Her research has contributed
new insights to Australian–​German cross-​cultural relationships and engage-
ment of the Arts with cultural diversity in German-​speaking countries and
beyond. She is the co-​author of Theatre of Real People: Diverse Encounters
at Berlin’s Hebbel am Ufer and Beyond (Bloomsbury Publishing 2016, with
M. Mumford) and co-​ editor of Rimini Protokoll Close-​ Up: Lektüren
(Wehrhahn 2015). Her current project investigates ‘Multilingualism on the
Berlin Stage’ in terms of aesthetics as well as audience access and diversity.
 List of contributors xi
Margaret Hamilton is Senior Lecturer in Theatre Studies at the University
of Wollongong, Australia. Her research has encompassed the emergence of
postdramatic theatre in Australia and currently focuses on mainstage theatre
as part of a project that analyses the prospect of artistic critique in the con-
text of neoliberal capitalism. She is the author of Transfigured Stages: Major
Practitioners and Theatre Aesthetics in Australia (Rodopi, 2011). Her writing
has appeared in journals such as Theatre Journal, Contemporary Theatre Review,
Sexualities and Australasian Drama Studies, as well as several edited collections,
including Rimini Protokoll Close-​ Up: Lektüren (2015). She is a Chief
Investigator on the Australian Research Council-​funded AusStage project.
Amanda Harris is a Research Fellow at the Sydney Conservatorium of
Music, University of Sydney and is Director of the Sydney Unit of digital
archive PARADISEC (Pacific and Regional Archive for Digital Sources
in Endangered Cultures). Amanda’s research focuses on music, gender, and
cross-​cultural Australian histories. Her monograph Representing Australian
Aboriginal Music and Dance 1930–​70 is published by Bloomsbury Publishing
in 2020. Amanda’s current research is part of the Australian Research
Council Discovery Project ‘Reclaiming Performance Under Assimilation
in Southeast Australia, 1935–​75’. She is editor of three books including
Circulating Cultures: Exchanges of Australian Indigenous Music, Dance and Media
(2014) and articles in Twentieth Century Music, Postcolonial Studies, Australian
Historical Studies, History and Anthropology, Women’s History Review and Women
and Music.
Benjamin Hoesch, MA, studied Theatre and Comparative Literature in
Valencia, Tel Aviv, and Mainz, Germany, where he was a Teaching Assistant
until 2018. Simultaneously, he studied Applied Theatre Studies in Giessen,
co-​curated and organized festivals, and presented his own stage work both
nationally and internationally. He was commissioned to teach workshops
at the Taiwan National University and the Hogeschool voor de Kunsten
Utrecht. Since March 2018 he has been a Research Assistant in Giessen and
member of the Giessen Centre for the Study of Culture (GCSC), working
on his PhD on ‘Festivals for Young Artists’; this research project is part of
the nationwide scholar network ‘Crisis and Institutional Transformation in
Performing Arts 2734’, funded by the German Research Assembly DFG.
Upcoming publications will contribute to developing an organizational
theory and methodology for the study of theatre as an institution.
Felix Lempp currently works as a pre-​doctoral fellow with Professor Dr Ortrud
Gutjahr in the German Department at the University of Hamburg. He holds
an MA degree in German Literature from the Albert-​Ludwigs-​University
Freiburg (2016) and passed the first state examination for German and
History at the Catholic University Eichstätt-​Ingolstadt (2013). His research
interests include the theory and practice of contemporary drama and theatre,
xii List of contributors
spatial theory in literary studies, making-​of narratives in various media, and
intercultural literature. His PhD project focuses on the spatial depiction of
globalization in post-​millennial German-​speaking plays and performances.
His latest publications include a journal article on the carnivalesque in
Heine-​Jahrbuch, and chapters on the chorus in contemporary theatre as well as
clothing in Heinrich von Kleist’s Das Käthchen von Heilbronn. Forthcoming
chapters will cover the depiction of flight in German speaking theatre since
2000 and theatrical adaptations of generational novels.
Kate Maguire-​Rosier recently obtained her PhD in dance theatre per-
formance by Australian artists with disability from Macquarie University.
Currently she teaches Performance Studies at the University of Sydney.
As co-​convenor of the International Federation for Theatre Research’s
‘Performance and Disability’ Working Group, Kate is involved in a number
of ongoing, exciting collaborations. In that context, she has recently
published a co-​ authored article on disability performance for Theatre
Research International.
Yvonne Schmidt is a Senior Researcher/Lecturer and the Deputy Head of
the Institute for the Performing Arts and Film at the Zurich University of the
Arts. She also heads the transdisciplinary EcoArtLab at the Bern University
of the Arts, is the Co-President of the Swiss Association for Theatre Studies
and the co-editor of the series MIMOS. Swiss Theatre Year Book (in 4
languages). She co-founded and co-convened the IFTR working group
“Performance and Disability” and led the SNSF-research project “DisAbility
on Stage” (2015-2019) in collaboration with Swiss art schools, universities,
and disability performance festivals and companies, such as Theater HORA.
She received her PhD in Theatre Studies from the University of Bern. She
was a Research Fellow at the University of Illinois in Chicago, a Guest
Lecturer at the University of Bern, and a Visiting Scholar at the University
of British Columbia,Vancouver.
John Severn is a Research Fellow at Macquarie University, currently working
on an Australian Research Council-​funded Discovery Project on the eco-
nomic and cultural value of theatre in Australia. His wider research focuses
on adaptation, theatre, opera and musical theatre, and community. He is the
author of Shakespeare as Jukebox Musical (Routledge, 2019), and his journal
articles in Music & Letters, Theatre Journal, Cambridge Opera Journal, Studies in
Musical Theatre, Shakespeare Bulletin, and Australian Literary Studies explore the
ways international operatic and musical adaptations of Shakespeare’s plays
have engaged with community inclusion from the eighteenth to the twenty-​
first centuries.
Amy Stebbins is a writer, director, and scholar. Recent projects include: Schöner
Wohnen (Neuköllner Oper, 2020), Einar hat’n Vogel (Theater Augsburg,
2018), Mauerschau (Bavarian State Opera, 2016), and Musical Land (Deutsche
Oper, 2014). Stebbins has also collaborated on music-​theatre productions
 List of contributors xiii
with composers including Michael Einziger of Incubus and Sir Henry of
the Berlin Volksbühne. Stebbins received her PhD in Germanic Studies and
Cinema and Media Studies from the University of Chicago in 2018. Her
dissertation ‘Theater against the Turn: Acting Dialectics at Frank Castorf ’s
Volksbühne’ explores the work of actors at the Berlin Volksbühne. Stebbins
is also the author of articles and cultural criticism on topics in theatre, per-
formance, identity politics, US prisoner rehabilitation, and creative arts
therapy. Together with composer Hauke Berheide, she is the co-​founder of
New Opera Dialogues, an artist-​led platform for promotion of international
dialogue on the topics of contemporary aesthetics and best practices for
new work development. She has been a fellow of the Akademie für Theater
und Digitalität, the Alexander von Humboldt Foundation, the Akademie
Musiktheater Heute, and the Fulbright Program. She received her BA in
History and Literature from Harvard University in 2007.
Brangwen Stone is a lecturer in German Studies at the University of Sydney,
and is the author of Heimkehr? Narratives of Return to Germany’s Former Eastern
Territories 1965–​2001 (Hannover: Wehrhahn Verlag, 2016). She is currently
working on a second monograph, which will explore refugees, displace-
ment, and multidirectional memory in contemporary German-​ language
theatre and literature. She has also published articles on GDR literature,
Eastern Europe in German literature and film, the interaction of Australian
and German theatre, and contemporary Swiss literature.
Acknowledgments

Our first thanks go to our chapter contributors, with whom it has been a
pleasure to work, and whose commitment to the project and engagement with
our requests and queries has made the task of editing stimulating and enjoyable.
We completed the book during a time of widespread lockdowns and shutdowns
across the world due to the coronavirus Covid 19 pandemic. We know that the
closure of theatres and libraries has presented difficulties for some contributors
in the last stages of their writing, and we are particularly grateful for their per-
severance in overcoming obstacles and meeting deadlines.
The impetus for this volume began in the conversations and friendships that
developed during a joint conference and public discussion panel on Theatre
and Internationalization, and Barrie Kosky: Past, Present, Future, that we
organized in Sydney in April 2019. Some of the chapters in this book began
life as papers delivered at this conference; other contributors joined us along
the way. The conference was jointly hosted by Macquarie University and the
Goethe-​Institut Australia, to whom we are very grateful. At the Goethe-​Institut
Australia we would particularly like to thank Sonja Griegoschewski, Director,
and Jochen Gutsch, Cultural Program Coordinator, Sydney for their enthusi-
astic support in so many ways, including hosting the public discussion panel.
Ideas for this volume were also tested out in themed research workshops
held by the World Literatures and Cultures Research Cluster at Macquarie
University, for which we received funding from Macquarie University. Many
thanks to Jan Zwar and her team at the Research Office of the Faculty of Arts,
Macquarie University for assistance with this.
Both of us are grateful for the opportunity to spend extended periods in
Germany as a result of Macquarie University’s support. John’s research was
funded by a Macquarie University Research Fellowship, and Ulrike’s by the
university’s Outside Studies Program.
Our editorial team at Routledge –​Laura Hussey, Editor, and Swati Hindwan,
Senior Editorial Assistant –​have been an enthusiastic and friendly source
of guidance through the publishing process. Thanks also to our anonymous
reviewers for their feedback.
Our final thanks go to our families for their patience and interest as we
worked through this project.
Part 1

Introduction
1 Theatre(s) and
internationalization(s)
Ulrike Garde and John R. Severn

Introduction
Theatre and Internationalization: Perspectives from Australia, Germany, and Beyond
examines both the ways in which internationalization has affected the
processes and aesthetics of theatre, and how theatre has responded dramatically
and thematically to internationalization in the world beyond the stage. One
goal of the book is to demonstrate the complexity and wide spread of inter-
nationalization in theatrical terms. In order to do justice to this complexity,
it approaches theatre and internationalization through a range of theoretical
lenses and methodological practices, including archival research, transport
history, adaptation studies, theatre historiography, arts policy, organizational
theory, language analysis, academic-​practitioner insights, and literary-​textual
studies.
Recent work on internationalizing aspects of theatre has tended to approach
them through the lens of globalization. However, Theatre and Internationalization
works on the assumption that internationalization and globalization are not
isometric. For example, the European Union legislation and funding that
encourages and facilitates intra-​ European theatrical mobility, described in
Chapter 9, is internationalizing, but only within a limited geopolitical area. It is
also protectionist, and thus cannot easily be subsumed under the rubric of glo-
balization. Rather, globalization –​an economic model of late capitalism with a
neo-​liberal ideology –​might be thought of as a subset of internationalization.
As the case study of the megamusical below shows, it should therefore be pos-
sible to critique aspects of a theatrical work in terms of globalization, while
also picking out what it is doing positively, negatively, or simply differently in
terms of internationalization. Similarly, an alertness to the potential performa-
tive contradiction of theatrical works that aim to critique the abuses of glo-
balization while requiring their casts to spend long periods away from home
on international tours, or that themselves become products in the global the-
atrical marketplace (discussed further in Chapter 8), might allow practitioners
to avoid replicating practices to which they are ostensibly opposed. To this end,
Theatre and Internationalization aims to provide critical approaches to enable
more nuanced analysis of theatrical developments to be made.
4 Ulrike Garde and John R. Severn
Since the late 1980s, ‘globalization’ –​in contrast to ‘internationalization’ –​
has generally been treated as a pejorative term to describe the exploitation
of foreign labour markets and the worldwide dissemination of mass-​produced
products. This of course does not cover all the ways in which international
interactions occur. This book aims to draw attention to the ways in which
theatre and internationalization might be seen as contributing productively to
each other and to the communities in which they operate, for example through
exposing audiences and performers to the unfamiliar in terms of people,
languages, and ideas, and to the self-​reflection that this brings. Chapters 2 and
3 show how internationalization can be experienced in terms of pleasure, and
indeed –​as the diary entries and postcards revealed by Chapter 3’s archival
research demonstrate –​as sheer fun. At the same time, the book is alive to the
problems to which internationalization, or a sense of obligation to engage in
internationalization, can give rise. As Chapters 12 and 13 argue, international-
ization can also be a source of economic stress and personal discomfort, espe-
cially when participants feel pressured to engage in it.
Rather than treating internationalization as a form of ideology with which
its contributors either agree or disagree, Theatre and Internationalization views
internationalization as a process –​a set of interlocking international flows
of influence, practices, people, funds, and works –​that is most effectively
approached through examples of practice. As such, it aims to bring to light
concrete issues in the internationalization of theatre and to provide critical
tools with which to approach the complex interactions among, for instance, the
availability of and access to international transport and communication, transla-
tion and interpreting technology, the legal ability of performers to travel abroad,
and the social, political, and organizational stances, whether positive or negative,
towards presenting audiences with foreign influences that together contribute
to the internationalization of theatre. As a case in point, Chapter 4’s discussion
of international touring by Australian Aboriginal performers in the late 1960s
draws attention to the fact that national laws can prevent performers leaving
their country of origin as much as entering another. The book also aims to
analyse changes in patterns of internationalization in response to developments
beyond theatre: Chapter 3 demonstrates how the rise of affordable commer-
cial jet aviation in the 1950s and 1960s led to changes in theatrical touring
practices, from sea-​based circuits to air-​based hubs, while Chapter 5 gives an
academic-​ practitioner’s account of the use of communications technology
in the development of a recent cross-​continental production, an aspect of
increasing interest given rising concerns about the effect of air travel on climate
change. Chapter 7, in contrast, explores de-​internationalization in the context of
the opera libretto, historically a highly internationalized theatrical component,
due to the requirements of funding organizations, among other reasons.
Theatre and Internationalization takes an unusually wide view of theatre as a
performative art: its thirteen chapters include contributions by specialists in
popular commercial theatre, disability theatre, Indigenous performance, theatre
by and for refugees and other migrants, young people as performers, opera and
 Theatre(s) and internationalization(s) 5
operetta, as well as subsidized spoken art theatre. By expanding an understanding
of theatre beyond subsidized spoken art theatre, the book aims to reflect the
reality that many practitioners draw and bring experiences of internationaliza-
tion from and to a range of theatrical forms: as the book demonstrates, directors
might work across spoken theatre, opera and operetta, choreographers across
dance, musicals and contemporary mixed-​media performance, and performers
across revue and narrative drama. Likewise, audiences encounter international-
ization across a spectrum of theatrical forms.
While this initial chapter explores internationalization in a wide range of
historical and geographical contexts, the remaining chapters examine aspects
of theatre and internationalization in depth, rather than providing a compre-
hensive high-​level survey. In order to draw the subsequent chapters together,
the editors and contributors have chosen to take their primary case studies
from Australia and Germany, countries on opposite sides of the earth but with
a perhaps surprising history of mutual theatrical interactions and influences.
This is in part because these contexts allow discussions of specific historical and
contemporary aspects of internationalization that are nonetheless revealing in a
wider context in terms of the extent to which forces beyond the theatre influ-
ence its engagement with internationalization.Thus, the book is not only about
internationalization in Australian and German theatre, and its findings aim to be
transferrable to other situations. Further, while each chapter deals with theatre
from/​in Australia and/​or Germany and German-​speaking countries, they also
cover internationalizing aspects relating to Asia, the Pacific, the Middle East,
Latin America, the US, and Europe more generally.
Australia was chosen as an ideal example for a book with a focus on the
practical aspects of internationalization as its relatively isolated geographical
position as an island state with no international land borders can pose signifi-
cant obstacles to international movement. In addition, Australia’s status as a
post-​colonial multicultural settler society with its own internal colonial his-
tory vis-​à-​vis its indigenous inhabitants raises questions around the meaning
of ‘international’ that force a particularly nuanced approach to discussions of
theatrical internationalization. Australia also serves as a demonstration of a the-
atrical context in which state policies such as the racist White Australia Policy,
in force from 1901 and progressively phased out between 1949 and 1973,
have resulted in a widespread erasure of awareness both of what was once a
highly internationalized theatre scene and of ways of receiving popular spoken
theatre in unfamiliar languages. The Gold Rush era in the Australian colonies,
for instance, saw fourteen Chinese opera companies performing in Victoria
between 1850 and 1870 (Zhengting 2012, p.4), while Melbourne’s concur-
rent status as the world’s wealthiest city attracted Europe’s biggest stars, such
as the Italian actress Adelaide Ristori, the French actress Sarah Bernhardt, and
the English operatic soprano Anna Bishop.1 That the former two performed
in their own languages to appreciative audiences suggests a willingness among
Australian settlers to receive spoken theatre in unfamiliar languages. A news-
paper review in Melbourne’s Argus for 21 September 1875 gives a detailed
6 Ulrike Garde and John R. Severn
account of movement and vocal delivery (reprinted in Love 1984, pp.96–​7).
Noting Ristori’s lengthy seasons in Sydney and Melbourne despite performing
in Italian, Harold Love suggests that audiences received these ‘as a form of opera
without music’ (1984, p.96). Finally, a focused study of Australia permits discus-
sion of anglophone works while avoiding the US/​UK-​centric approaches that
tend to dominate discussions of developments in theatre.
Germany was chosen due to its complex history of engagement with
theatre and internationalization. On the one hand, as Chapter 2 demonstrates,
internationalizing aspects of theatre in the 1930s fell foul of National Socialism’s
racist laws and practices, which led to works being banned and practitioners
exiled or murdered, while post-​war revivals of banned works removed the
internationalizing aspects of the original productions –​at best unthinkingly
continuing Nazi censorship. Contemporary institutions that have contributed
to restoring these internationalizing aspects have recently faced resistance from
growing far-​r ight opposition. On the other hand, some of the most interesting
examples of theatre and internationalization are to be found in contemporary
Germany’s exceptionally well-​funded and extensive theatre network, especially
as the country engages with the presence of refugees and other migrants, as
well as with its place in the European Union, in Europe as a whole, and in
an increasingly globalized world. The choice of Germany also permits discus-
sion of non-​anglophone works (translations are provided for all non-​English
quotations): indeed, one of the aims of the book is to provide ways of thinking
about linguistic issues that have often been glossed over in anglophone theat-
rical discussions.

Theatre and internationalization

A recent turn in theatre historiography has seen a welcome shift from teleo-
logical approaches that focus on landmarks in the development of ‘national’
theatre traditions to one that aims to create an understanding of the theatre
ecologies available to audiences and practitioners at particular times and places,
in which, for example, translations and adaptations of foreign works play along-
side revivals as well as new works, and actors perform outside their country
of origin.2 Much of this work has framed itself in terms of the ‘transnational’.
While the terms ‘transnational’ and ‘international’ have a long history as virtual
synonyms in common usage, recent academic work has made attempts to dis-
tinguish the two, often tailoring definitions for a specific piece of work. Steven
Vertovec, for example, writes:

At least one conceptual clarification is worth underlining to begin with.

With regard to interactions between national governments (such as formal
agreements, conflicts, diplomatic relations) or concerning the to-​ ing
and fro-​ing of items from one nation-​state context to another (such as
people/​travel and goods/​trade), we might best retain our description of
these practices as ‘inter-​national’. When referring to sustained linkages and
 Theatre(s) and internationalization(s) 7
ongoing exchanges among non-​state actors based across national borders –​
businesses, non-​ government organizations, and individuals sharing the
same interests (by way of criteria such as religious beliefs, common cul-
tural and geographical origins) –​we can differentiate these as ‘transnational’
practices and groups (referring to their links functioning across nation-​
states). The collective attributes of such connections, their processes of
formation and maintenance, and their wider implications are referred to
broadly as ‘transnationalism’.
(Vertovec 2009, pp.2–​3)

While there is no consensus on usage of the term, and others implicitly or

explicitly include ‘the to-​ing and fro-​ing of items from one nation-​state context
to another’ –​especially the movement of people –​under the rubric of trans-
nationalism,Vertovec is relatively typical in characterizing transnationalism by a
focus on linkages and exchanges across borders.
Much of the work in Theatre and Internationalization: Perspectives from Australia,
Germany, and Beyond could no doubt comfortably be described as having such
a ‘transnational’ approach. We have, however, chosen to view our case studies
through the lens of ‘internationalization’. On the one hand, although our
interest is in flows of influence, practices, people, funds, and works, this ter-
minology aims not so much to frame that interest in terms of various forms of
border crossings, as it aims to position theatre as being in a constant process of
becoming influenced –​and, at times, of appearing to be influenced –​by factors
beyond the borders of the state in which it is produced. Thus, internationaliza-
tion in theatre can be an issue of perception as much as of real or virtual border
crossings.This can manifest itself in a number of ways.Theatre can be perceived
to be thematizing international imports. Homosexuality, for example, can be
conceived as a foreign import: in such circumstances, theatre that thematizes
homosexuality can also be perceived as thematizing internationalization. As
Awondo et al. note in the context of Senegal:

influential Senegalese religious and political leaders seem to be convinced

that an actual infiltration of homosexuality –​as an imposition from out-
side –​threatens the social order and the intégrité nationale. This idea is
repeated regularly on the media. It also inspires other initiatives, like the
staging of theatrical presentations about the fate awaiting homosexuals
after their death and debates broadcast over local TV stations.
(Awondo et al. 2012, p.156)

Internationalization can be perceived in terms of style in new works, even

where that style has been a domestic one for some time.The operas of Giacomo
Puccini and other Italians of the late nineteenth and early twentieth centuries
were attacked by Italian critics for perceived anti-​nationalist, internationalized
aspects on the grounds that their orchestral accompaniments were received
as having a ‘heavy’ –​and therefore ‘German’ –​texture. This, as Alexandra
8 Ulrike Garde and John R. Severn
Wilson (2007, p.112) notes, was despite little having changed in Italian operatic
orchestral accompaniment since the late operas of Verdi a generation before.
Orientalizing or otherwise exoticizing aspects of theatre need not be based in
fact to be perceived as internationalizing. The operettas discussed in Chapter 2
did not need to have real-​life international influences to be deemed degenerate
by the Nazi regime and their creators persecuted on the grounds of inter-
nationalization: the ‘Hawaiian’ aspects of Die Blume von Hawaii are not based on
Hawaiian reality but are largely the products of German and Hungarian imagin-
ations; the ‘international’, apparently Australian ‘Känguru’ [Kangaroo] dance
exists only in the onstage world of Ball im Savoy. Further, ‘foreign’ influences
in terms of personnel can also be a matter of perception. The desire to create a
sense of internationalization can be seen in terms of Australian opera and ballet
history in the billing of ‘Madame Carandini’ (1826–​1894), a contralto who also
played tenor roles and was born Maria (variously Marie) Burgess, ‘the Contessa
Filippini’ (1896–​1987), –​in the 1920s Australia’s first female conductor, and
who enjoyed a long singing as well as conducting career –​who was born Anne
(Nancy, Nance) McParland, ‘Djemma Vécla’ or ‘Margherita Grandi’, both names
used by the contralto Margaret (Maggie) Gard, and ‘Harcourt Algeranoff ’, a
dancer and ballet master whose birth name was Harcourt Algernon Leighton
Essex.3 Our use of ‘internationalization’ therefore aims to include perceptions
of international flows as well as actual flows.
On the other hand, our use of ‘internationalization’ reflects our understanding
of theatre.Theatre is not primarily intellectual property, linkages, or connections
that can cut across state borders: it is a gathering of specific bodies in specific
times and spaces engaged in specific tasks –​auditioning, rehearsing, watching,
performing, reviewing, managing, building and changing sets, dressing others,
operating machinery, checking tickets, conducting fire safety inspections,
cleaning and laundering, paying wages, completing tax returns. All of these
activities are governed to some degree by state-​based legal systems. While no
terminology is ideal, we have chosen to avoid the implication, inherent in some
uses of ‘transnational’, that our focus is on aspects that overcome state differences,
and instead use ‘internationalization’ as a term that aims to keep in mind the
role of the state (for good or for ill, and whether nation-​state or otherwise) in
theatre. At the same time, the presence of ‘foreign’ elements –​performers, dir-
ectors, texts (whether in translation, censored, uncensored, or delivered intact),
musical instruments, styles, funds –​in theatre, and in the discourse surrounding
theatre, can serve to denaturalize these aspects of state-​based influence.
That state-​based legal systems vary, sometimes significantly, means that
discussions of theatre and internationalization must be grounded in the spatio-​
temporally specific. At the most fundamental level, states can decide who may
enter and who may leave their territories and in what circumstances, may
impose different conditions on the type and amount of work permitted to be
carried out by citizens and non-​citizens, and may decide what type of goods
and equipment may cross their borders. Identity-​based national legislation and
state persecution can force theatre professionals into exile from their home
 Theatre(s) and internationalization(s) 9
states. In some cases this ends or radically changes theatrical careers; in others
the relatively more liberal regimes of receiving states allow theatrical careers
to be reshaped and continued, internationalizing the theatrical culture of the
receiving state in the process.4 As discussed in Chapter 2, antisemitic laws in
Nazi Germany, and subsequently in Austria, forced Jewish theatre professionals
to emigrate or face internment or death, while others, such as Bertolt Brecht,
left Germany due to Nazi persecution of left-​wing or Communist activists.
Some of these then forged successful theatrical careers abroad, despite initial
language and cultural barriers, in ways that internationalized the theatre of their
new home. As a case in point, twentieth-​century Australian dance and musical
theatre were highly influenced by the work of Gertrud Bodenwieser (1890–​
1959), a Jewish dancer, choreographer, and teacher who fled Nazi Austria in
1938, and who lived and worked in Sydney from 1939. As Chapter 13 discusses
further, she transmitted her experience of European modern dance to new
audiences and performers.5
Such internationalizing influences continue today for similar reasons:
Chapters 6 and 11 discuss how refugee performers in Germany have contributed
to internationalizing the Berlin theatre scene. Legal differences between states
as to who is permitted access to theatrical careers have also provided the motiv-
ation for internationalized and internationalizing careers: early modern bans in
certain states on women performing in public meant that actresses from these
states who wished to sustain a theatrical career were obliged to do so abroad.6
Further, legal differences among states shape how contemporary inter-
national collaboration and/​or touring takes place. Practitioners –​and academics
who write about them –​need to take into account some or all of the features of
the following (exhausting but not exhaustive) list. In no particular order:

• national employment laws impose different (or no) caps on the number of
hours that can be worked in a day or a week, affecting both rehearsal and
performance times;
• minimum wages may or may not be imposed depending on national legis-
lation, their levels varying from state to state;
• visa requirements may restrict the circumstances in which non-​citizen or
non-​resident theatre practitioners can perform and/​or rehearse;
• health and safety regulations vary in their tightness and focus;
• women may or may not be permitted to appear on stage, or may have
restrictions placed on how they dress, or before which audiences they may
perform;
• public health regulations determine, among other things, whether smoking
or the representation of smoking is allowed on stage;
• the protection afforded by equalities legislation varies from state to state;
• child labour laws may or may not allow children to perform professionally,
may restrict the number of performances in which they take part or the
hours at which they work, and may or may not require chaperones and
tutors to be paid for by the production;
10 Ulrike Garde and John R. Severn
• animal protection legislation may or may not allow non-​human performers
to share the stage with actors;
• strong, weak, or no adherence to the Convention on International Trade
in Endangered Species of Wild Fauna and Flora (CITES) at the state level
determines whether certain musical instruments, props, and costumes can
cross international borders;
• differences in trade union strength, activity, and legal backing may require
anything from significant negotiations to no negotiations at all;
• freedom of speech, censorship, and/​or blasphemy laws may protect, restrict,
or outlaw the representation or discussion of particular topics and figures
and the use of specific language and expressions;
• national taxation, superannuation, and charitable giving legislation can
result in significant differences in investable profit for the same production
in different states;
• copyright laws and the costs of compliance vary from state to state and may
determine what can or cannot be performed, either legally or pragmatically.

National-​cultural features beyond the strictly legal (but which sometimes stem
from the effects of domestic legislation) also shape international theatrical col-
laboration and touring in terms of production and reception. Again, in no par-
ticular order, international collaboration and/​or tours and academic approaches
to them need to account for some or all of the variations in:

• theatre architecture;
• expected ticket prices;
• the presence, absence, and range of concessionary ticket prices;
• the modes and range of publicity and marketing;
• the patterns and modes of ticket sales, from box office only to online only,
from subscription season to individual sales;
• the availability of public transport to and from theatre venues;
• the tolerance for or unacceptability of ethnic and racial representation
through, for example, blackface and yellowface;
• the status of the theatrical arts in general and specific genres in particular;
• the expectations, tastes, and knowledge formed in conjunction with
national education systems;
• the expectations or otherwise of pre-​show talks and moderated after-​show
discussions;
• the diversity of the local population, and the presence or absence of social
hierarchies;
• the status of particular languages and accents;
• the ways in which the countries of origin of theatrical collaborators or
pieces of touring theatre figure in the national imaginary of the host state(s);
• the awareness or otherwise of foreign stars;
• commercial practices relating to season planning, whether fixed runs, open-​
ended runs, or repertory systems;
 Theatre(s) and internationalization(s) 11
• the presence and prominence of theatre criticism;
• theatre etiquette;
• conventions around applause, standing ovations, encores, and booing.

While many of these aspects are difficult to ascertain from positions outside a
particular society, they nonetheless shape the commercial and artistic success of
productions, the methods used to develop them, and the experience of working
in them, and thus render international collaboration and/​or touring particularly
complex activities.
How and where internationalized theatre is presented also influences its
reception. Performance styles might be overtly framed as ‘foreign’, resulting in
their being rejected as incomprehensible, or conversely enjoyed for their exoti-
cism. Aspects such as tendencies or otherwise to expect or tolerate naturalistic,
presentational, stylized, or surrealist styles of acting, costume, make-​up, and mise
en scène can vary significantly depending on national-​cultural contexts, as do
perceptions of the professional and class status of the actor. An instance from
Australian theatre history illustrates some of the issues in play. When the Royal
English Opera Company (an Australian company which, to further confuse
matters, performed French operettas) toured to Japan in 1879, they were not
particularly well received, and the bad behaviour of the audiences was assumed
by Japanese newspapers to mean that the performers were low-​class (Senelick
2017, p.195). However, as Laurence Senelick reports:

This novelty from overseas inspired the impresario Morita Kan’ya XII to
commission a play from [renowned kabuki playwright Kawatake] Mokuami
that could incorporate it. Hyōryū Kidan Seiyō Kabuki (An Amazing Story
about Drifters and Western Kabuki) was advertised for a run at the Shintomi-​
za from 1 September to 15 September 1879.The fourth act was set in Paris
where two Japanese visit a theatre; the scene naturally changes to a play-​
within-​the-​play in which three operettas are shown: Act 1 of La Duchesse
[de Gerolstein], La fille du régiment, and Lecoq’s La fille de Madame Angot
(expressly abridged versions, with a playing time of one hour for each as
requested by Morita).The main roles were taken by the cohort of foreigners
[from the Royal English Opera Company], but minor characters, including
Native Americans, Englishmen, and the chorus of German soldiers, were
assumed by Japanese actors.
Although scheduled to run for six weeks, this hybrid turned out to be
an awful failure.The Japanese audience watched with breathless silence and
rapt attention every action or note of their countrymen in the walk-​on
roles, but greeted the fortissimo that accompanied the prima donna’s last
notes with bursts of laughter.
(Senelick 2017, p.195)

Nonetheless, English and French operetta did flourish in Japan shortly after-
wards, but in lower-​class Japanese theatre contexts in an entertainment district,
12 Ulrike Garde and John R. Severn
and beyond the framework of the highly stylized and all-​male kabuki that made
significant demands on audiences’ time. When ‘played for low comedy and
cheap melodrama, interspersed with specialty acts and assimilated to Japanese
habits where possible’, operetta played successfully ‘to a heterogeneous audi-
ence of nursemaids, bored passersby, pious citizens, and drifters off the street’
(Senelick 2017, p.197). The positioning of ‘foreign’ theatre in local theatrical
ecologies can thus contribute to its success, rejection, or even comprehensibility.
On the other hand, the lack of a strong local theatrical ecology or tradition of
realist drama can facilitate the acceptance of internationalizing influences that
might be rejected in other contexts. For example,Tormod Calum Dòmhnallach’s
play Anna Chaimbeul [Anna Campbell] helped invigorate Scottish Gaelic
drama in the 1970s and 1980s, introducing Japanese Nō forms, techniques, and
stage layout to represent the life of an eighteenth-​century Gaelic songwriter.
Performed first by amateurs, the play went on to achieve success in profes-
sional Gaelic and bilingual Gaelic–​English performances. In contrast to French
operetta’s bumpy ride before it found its place in the hierarchized Japanese
theatrical ecology, the lack of a strong Gaelic dramatic tradition and profes-
sional theatre ecology facilitated the introduction of aspects of the sparest, most
stylized, and to many Western audiences most inaccessible of Japanese theatrical
forms, that in turn invited a reconsideration of gender in Gaelic culture.7
National differences in reception contexts can result in the creation of sig-
nificant differences of meaning, even when most aspects of a show mounted
in different international productions are similar and audiences share a famil-
iarity with the show’s language, theatrical form, and meaning-​making apparatus.
While on the face of it two international productions might appear as iterations
of the same work, national differences in discourse and reception can result in
audiences emphasizing, downplaying, ignoring, or failing to see or understand
certain aspects, with the result that audiences of the different productions can
appear to have experienced quite different works. Robert Gordon, for example,
discusses differences in the British and American receptions of the musical Billy
Elliot (West End 2005, Broadway 2008). Based on the 2000 film of the same
name, Billy Elliot tells the story of a motherless, working-​class boy’s struggles to
become a ballet dancer in a mining community in the north-​east of England,
in the context of the 1984–​85 UK miners’ strike. The musical was extremely
successful in both London and New York, but for different reasons: Gordon
(2016, pp.49–​68) demonstrates how it was received as almost two different
shows in these cities. While the British reception focused on Billy Elliot’s cele-
bration of community, and treated the musical as a ‘history play’ that brought to
light features of class and gender in the UK under the premiership of Margaret
Thatcher, US reception focused on Billy’s story of individual struggle and
success through hard work and downplayed or deplored the political and com-
munity context. Gordon suggests that this difference in reception relates partly
to the differences in the legal frameworks of the US and the UK, arguing ‘this
is of course a uniquely American perspective –​one that insists that the musical
should celebrate the American dream of the individual’s triumph over adversity
 Theatre(s) and internationalization(s) 13
as an aspect of her right to the “pursuit of happiness” enshrined in the con-
stitution. Workers are boring; talented individuals are stars’ (2016, p.49). As we
discuss below, the international so-​called ‘megamusical’ is not as uniform in its
international productions as is sometimes claimed. However, even in almost
identical productions, national contexts can result in very different receptions
and meaning-​making.
Further, local non-​ legal moral, political, or reputational contexts may
variously force the internationalization of theatre, result in the rejection of
internationalized theatre, or, indeed, hold up as moral a piece of theatre judged
as immoral in its home environment.To draw again from Australian theatre his-
tory, David Burn’s The Bushrangers, one of the first plays on an Australian theme
originating from post-​settlement Australia, had to be performed in Scotland
rather than Australia, receiving performances on 8 and 10 September 1829
at the Caledonian Theatre, Edinburgh. As Paul Richardson (1984, p.67) notes,
‘given Burn’s unfavourable portrayal of the Tasmanian governor in the play, it
is highly unlikely the piece would have received a licence for performance in
Australia’. This production, in turn, contributed to the internationalization of
the Scottish stage: the epilogue,‘written by the author and spoken by Miss Tyler’
and reprinted in The Scotsman, draws attention both to the play’s Tasmanian
setting, and, jokingly, to its difference from the theatre’s usual fare (‘not a word
in it of love or marriage!”) (The Scotsman 1829, original emphasis).
The status of the producing company also plays a role in the ‘moral’ or
‘moralizing’ reception of internationalized theatre. To stay with Billy Elliot, in
2018 the Hungarian State Opera was forced to cancel performances of its pro-
duction following an article in a conservative pro-​government newspaper that
accused it of corrupting Hungarian youth. Although the musical does not have
an overtly gay storyline, the article argued that ‘the musical’s message of “Dare
to be yourself ” referred “of course” to being gay’ (Karasz 2018). As reported
in The New York Times, the article’s author focuses on the national status of the
producing company, and frames the musical as a children’s show:

‘How can such an important national institution as the opera go against

the objectives of the state and use a performance made for young people
around 10, at their most fragile age, for such pointed and unrestrained
gay propaganda?’, she asked. ‘Promoting homosexuality cannot be a
national objective in a situation where the population is already aging and
decreasing, and our nation is threatened by foreign invasion’, she added.
She said the Hungarian government promoted the family, but that Billy
Elliot encouraged young people to take a different direction. Perhaps they
‘wouldn’t have taken this direction on their own’, she added.
(Karasz 2018)

On the other hand, what is deemed immoral in one national context can be
held up as moral in another. In his account of the worldwide dissemination of
Jacques Offenbach’s operettas, Laurence Senelick gives an account of the 1869
14 Ulrike Garde and John R. Severn
production of La Belle Hélène [Beautiful Helen], that opened the Western-​style
Théâtre de la Comédie in Cairo (itself an international affair, built by a German
architect and managed by an Armenian):

To familiarize the harem and the monolingual courtiers with the new
repertoire the Khedive ordered everyone on the staff of the government
bureaucracy who knew French and Italian to drop official business and
collaborate on translating this and a boxful of opera libretti to be performed
the coming winter in Cairo … Subsidized by the Khedive, journalists
explained that theatres help train and cultivate the soul to adopt good
morals, and, to this end, the translated scripts would educate the native
public.
Consequently, the first translation of a European play into Arabic (and
incidentally the first Arabic work published in Egypt) was Hilāna al-​Jamila
(Beautiful Helen), printed at Būlāq on 17 Ramaḍān 1285 (31 December
1868/​1 January 1869) … It was put together by a committee under the
supervision of Rifā’a Rāfi aṭ-​Ṭahṭāwī, a ‘giant in Arabic intellectual life’ …
The Arabic newspapers urged the public to buy this translation and those
that were to follow. The newspaper Wādī al-​Nīl devoted two editorials
to this: the second, published in January 1869, praised Hélène as ‘the cre-
ation of a new literary genre … a useful means to order Arab morals … All
this [activity] is like the appearance of the crescent moon, which gradually
achieves perfection’.
(Senelick 2017, pp.186–​7)

Senelick concludes, ‘while Europeans were condemning opéra bouffe as dele-

terious to morality, Egypt was praising it for its value in national edification’
(2017, p.187).
As the above suggests, the wide variations in the ways that theatre becomes
internationalized and in the effects of that internationalization mean that uni-
versalizing theories or fixed political, aesthetic, or philosophical positions on
theatre and internationalization are difficult to sustain. While discussions of
globalization and theatre are likely to take a high-​level engagement, often
employing –​or with the aim of creating –​generalizing theoretical and/​or
political approaches, the discussions of theatre and internationalization in
this book aim instead to create nuanced, textured, and spatio-​temporally spe-
cific accounts. The chapters consider theatre and internationalization from
the perspectives of Australia, the German-​speaking countries, and beyond.
In many cases, they consider forms that are often overlooked in higher-​level
engagements.Taken as a whole, they aim to provide evidence of shared features,
as well as displaying the variety and complexity of both creating and discussing
internationalized theatre. As the discussion below on the megamusical
demonstrates, examinations of theatre from the viewpoint of internationaliza-
tion are designed to complement, rather than replace, higher-​level discussions
of theatre and globalization.
 Theatre(s) and internationalization(s) 15

Theatre and internationalization as discourse, politics,

and (soft) power
As some of the examples above suggest, discourse around theatre and inter-
nationalization can be instrumentalized for political ends beyond the strictly
theatrical. Opera history is particularly rich in instances of fierce debates about
internationalization that, in times of limited freedom of speech, often served
as proxies for debates on wider issues. To take one instance, the ‘Querelle des
Bouffons’ [Quarrel of the (Italian) Comedians] that raged in Paris between
1752 and 1754, and which saw the philosopher Jean-​Jacques Rousseau hanged
in effigy and a librettist wounded in a duel with a castrato singer, was ostensibly
about the merits of the ‘French’ tradition of the tragédie lyrique (a tradition in
fact created by the Italian-​born Jean-​Baptiste Lully) and Italian operatic styles.
However, it also served as a proxy debate about change and the status quo. On
the one hand, support for the French tradition signalled support for the Ancien
Régime and absolute monarchy; on the other ‘the transfer of allegiance in taste
from French to Italian music was therefore understood to symbolize freedom of
thought by the individual and weakening of the monarch’s influence. Support
for the [Italian] Bouffons implied criticism of the way in which the king con-
trolled not only the arts but all aspects of French life’ (Cook 1992, p.1199).
A further high-​profile attack on internationalization came in the form of
Fausto Torrefranco’s excoriating Giacomo Puccini e l’opera internazionale [Giacomo
Puccini and International Opera] (1912), in which Puccini was attacked for his
perceived internationalization of opera in terms of music, subject matter, and
characterization. This was not simply about the merits of a ‘pure’ Italian opera
as opposed to debased ‘internationalized’ opera in theatrical terms: Alexandra
Wilson (2007) demonstrates how Torrefranco’s tirade was also a proxy attack.
By implying that ‘international’ aspects of the composer’s operas revealed the
Catholic, notoriously heterosexual Puccini to be somehow Jewish, homosexual,
and feminine, Torrefranco contributed to a polemic against perceived inter-
national Jewish influence, and ‘degenerate’ international developments such as
feminism and an acceptance of homosexuality. Debates about theatre and inter-
nationalization must therefore be examined beyond the surface topics under
discussion.
On the other hand, theatre and internationalization have a role in inter-
national politics in terms of ‘soft power’. This might take place apparently
more or less at arm’s length, as in the German theatre productions at Australia’s
Adelaide Festival, discussed in Chapter 10, the presence of which was facilitated
by the Goethe-​Institut, an autonomous, politically independent, non-​profit
German cultural organization. As Arpad-​Andreas Sölter (2018) argues, this type
of cultural diplomacy can be framed as aiming to dismantle stereotypes, acting
as a form of nation branding, and acting as a cultural bridge builder over which
lasting bilateral ties might be formed.
However, as the chapters in Christopher Balme and Berenika Szymanski-​
Düll’s collection Theatre, Globalization, and the Cold War (2017) show, direct state
16 Ulrike Garde and John R. Severn
involvement can also be a feature of theatre-​as-​soft-​power.The use of theatrical
touring as propaganda was particularly strong and complex during the Cold
War, with productions crossing the Iron Curtain from both sides. In this con-
text, Zoltán Imre (2017) notes how the same piece of theatre might function in
different ways depending on its context: the 1972 Royal Shakespeare Company
international tour of A Midsummer Night’s Dream was not only received dif-
ferently depending on where it was staged, but was structured on different
economic models depending on whether it was performed in the Cold War
‘West’ or ‘East’. ‘Although the Western tour was considered to be a commercial
venture, its Eastern counterpart was seen as a cultural-​political mission’; as the
Eastern tour was funded by the British Council, ‘the Council could intervene
in how it proceeded’ (Imre 2017, p.109).
In contrast to the German–​Australian activities discussed by Sölter, theatrical
touring across the Iron Curtain was designed not only to invite a reconsider-
ation of stereotypes of the country of origin of the visiting production, but
also to provide examples of alternative conditions in the receiving country.
Overt political statements are likely to backfire when theatre is used as a tool
of soft power, and risk censorship or the closure of the production. Instead, as
Imre notes, aspects such as mise en scène, blocking, and gesture were presented as
mineable for meaning. A Midsummer Night’s Dream’s empty white box set, for
example, emblematized a modern, forward-​thinking British mindset, in con-
trast to Eastern Europe’s heavier old-​fashioned scenery, while its use of overt
eroticism in gesture and blocking set the United Kingdom up as a society
unencumbered by censorship. Even theatrical form can be perceived as being
too overtly political. As a recent case in point, an already partly censored staging
of the Schaubühne Berlin’s touring production of Ibsen’s An Enemy of the People
was cancelled in China in 2018, due, apparently, to a section in which a fictional
political meeting was opened up to include the audience, members of whom
took this as an opportunity to criticize the Chinese government (Marshall and
Mou 2018).
To use theatre as a tool of soft power can require extremely careful planning
both on the ground and at the highest levels of authority. Imre describes the
complex and detailed steps taken by British officials and the British Ambassador
to Bucharest to prevent the company being perceived as overtly critical of the
Eastern bloc when the production toured to Romania. As the production’s
director, Peter Brook, insisted that the cover of the brochure for the whole
tour should feature a dedication to a banned Czech theatre company, British
officials had to arrange for brochures to be sent to Romania without covers,
new covers to be added without a dedication, and had to suppress discussion
of the brochure’s dedication on Radio Free Europe until after the tour (Imre
2017, pp.111–​15). Imre’s account confirms that the interactions of theatre and
internationalization are more than simply what is put on stage, but also extend
to discourse and peritheatrical material such as programme brochures.
Theatre-​as-​soft-​power is not restricted to the touring of a piece of theatre
originating in one state to the theatre ecology of another. International
 Theatre(s) and internationalization(s) 17
theatrical collaboration in which practitioners from different backgrounds
work together, or intercultural theatre that showcases connections among cul-
tural forms, might also be thought of as forms of theatre-​as-​soft-​power, whether
state-​backed or otherwise, in which practitioners and audiences are exposed to
the unfamiliar in relatively safe and often pleasurable conditions. However, as
Rustom Bharucha (2014, p.180) argues, the idea of a level playing field in the
global cultural economy is a myth. On the one hand, access to participation in
such theatrical activity is not equally available. On the other, power dynamics
within an international partnership can vary. Participants from poorer states (or
indeed richer states with less-​well-​funded cultural engagement) may need to
rely more heavily on international collaboration than those from better-​funded
contexts. This applies not only to the intercultural or ‘interweaving’ art that
Bharucha discusses, but also to state-​backed soft-​power moves. Even among
rich states such as Australia and Germany, the power to engage in theatre-​
as-​soft-​power is unequal: cultural funding is significantly higher in Germany
than in Australia, and includes the funding of a cultural institute. Australia has
no equivalent of a cultural institute through which it might streamline its soft
power initiatives.
Perhaps one of the more practical ‘soft power’ tools available to
internationalized theatre of all forms is its potential to create a sense of cosmo-
politanism in terms of an openness to the world. Discussing the contraction of
Australia’s engagement with the international sphere encouraged by former
Prime Minister John Howard in the first decade of the twentieth century (and
not reversed by subsequent governments), Helen Gilbert and Jacqueline Lo
(2007, pp.208–​ 209) argue that ‘notwithstanding its commercial tendencies,
theatre offers a rare opportunity to instantiate an ethical and politicized cultural
dialogue that destabilizes the shrinking borders of our imagined community’.
As we have seen from some of the examples above, this cosmopolitanism is
not necessarily easy to achieve. In the absence of full funding and guaranteed
independence, theatre will always be subject to conflicting pulls, and may not
be in a position to engage in extensive international touring or other forms of
straightforward political engagement. Even where the internal features of a piece
of theatre aim to create this perception, external discourse, often beyond the
control of theatre makers, is capable of framing others as different, threatening,
immoral, and by no means equal. Further, as the next section shows, the experi-
ence of encountering the unfamiliar can be quite divergent for audiences and
performers of the same show. Nonetheless, even in these circumstances, such
theatre can provide an opportunity for subjects to be aired and discussed in
novel ways.

Theatre, globalization, internationalization: the megamusical

and the spectre of McTheatre
This section explores how theatre might be approached differently in terms
of globalization and internationalization, taking as its central example the
18 Ulrike Garde and John R. Severn
megamusical, typically a large-​scale and high-​profile addition to the local the-
atrical ecology, staged in often long runs in productions in cities across the
globe (although this international expansion might not have been the original
intention of its creators). Megamusicals regularly appear in discussions of (usu-
ally spoken) theatre and globalization, often with the disparaging designation
‘McTheatre’. However, to date they have received comparatively little in-​depth
analysis in terms of internationalization or the examination of individual works,
beyond that in specialist musical theatre publications. Indeed, megamusicals
have become something of a whipping boy in discussions of theatre and
globalization in ways that allow spoken ‘serious’ or ‘art’ theatre to distance itself
from scrutiny in terms of globalization or other forms of critique. However,
their international spread and the extent to which they have been identified
with globalization means that megamusicals serve as a useful example of how
discussions of a theatrical work might be deepened by critiquing it in terms of
globalization, while also picking out what it is doing positively, negatively, or
simply differently, in terms of internationalization. This section first examines
the sometimes problematic ways in which the megamusical has figured in the
discourse around theatre and globalization. It then pulls out the megamusical’s
localization and internationalization from under its supposed globalization. By
drawing attention to aspects of this internationalization it introduces themes
that will be discussed in more detail in later chapters.
While McTheatre might serve as a useful cautionary tale of what global-
ization might do to theatre (and use of this term avoids denigrating an entire
real-​life theatrical form), to equate McTheatre with actual megamusicals is to
miss an opportunity to engage with globalization and the theatre in general in
nuanced ways. In fact, little about megamusicals is unique in theatrical terms, and
artistic quality and modes of production and reception vary among individual
examples as much as they do in other forms of theatre.8 However, in discussions
of globalization, a generalized, homogenous spectre –​‘The Megamusical’ –​is
often implicitly or explicitly set up in opposition to an idealized notion of
theatre according to which all participants are fully autonomous artists engaged
in the collaborative creation, from scratch, of work that responds intimately to
its highly localized time and place of performance, and that is free from the taint
of consumption and commoditization. Although some state-​subsidized devised
and/​or so-​called ‘alternative’ theatre might approach this ideal, many forms of
theatre, including several discussed in this book, do not, and for reasons that may
or may not be related to globalization.
In discussions that use the megamusical to illustrate the pernicious effects
of globalization on theatre, the focus is usually on modes of production and
often on theatre’s entanglement with consumerism and commodity culture,
rather than on reception or interpretation. In an influential article from 1999
on the stage musical version of The Lion King, an adaptation –​with significant
differences –​of the 1994 Disney film, Maurya Wickstrom set the tone for sub-
sequent discussions of the megamusical: a focus on its own status as globalized
commodity rather than art, and its practice of creating and supporting an
 Theatre(s) and internationalization(s) 19
enveloping globalized commodity culture around it. Having drawn attention to
American Express’s sponsorship of the show, she writes:

In a globalized market, characterized by transnational competition and

potentially world-​wide reach, the [entertainment] industry can no longer
rely on the old techniques of displaying goods as objects for purchase. It is not
enough to encourage consumers to have commodities: they must be com-
pelled to become them. By creating environments and narratives through
which spectators/​consumers are interpellated into fictions produced by
and marketed in both shows and stores, entertainment and retail-​based
corporations allow bodies to inhabit commodities and so suggest that com-
modities, in turn, can be brought to life. As they are articulated through
the bodies onstage, and the bodies of consumers, the products in the store
appear more sympathetic, more capable of acting as a surrogate for human
interaction, and thus more powerful agents for turning audiences as well as
their purchases into commodities.
(Wickstrom 1999, pp.285)

To illustrate her point, Wickstrom (1999, p.294) cites ‘tee-​shirts, mugs and
Simba playsuits’ as Lion King-​related merchandise.
Wickstrom’s critique is important and useful in terms of analysing the rela-
tionship between theatre, performance, and commodity culture. However, the
prominence of her article, and the fact that it ignores the long, intertwined
history of commodity culture and theatre, have placed an undue burden on the
contemporary megamusical as the exemplar of an apparently new, deplorable
development in theatre.9 In fact, expensive souvenir programmes and show-​
themed playing cards, fans, piano scores, sheet music, dance arrangements and
instructions, picture books, cut-​out figures, ceramic figurines, crockery, and
vases were all features of nineteenth-​century theatre’s relationship to consump-
tion and commodity cultures. Regina Oost has shown how deeply integrated
into international commodity culture Gilbert and Sullivan’s comic operas
were, in ways that far exceeded The Lion King’s tee-​shirts and mugs in their
ability to make bodies inhabit commodities. As well as a range of smaller items,
including special souvenir programmes printed on rice paper for The Mikado
and on yellow silk for Ruddigore, Oost lists Mikado-​themed corsets and Mikado-​
themed rooms in the United States –​before the show had even opened there
(Oost 2009, pp.70, 78–​9). In her article ‘Darn That Merry Widow Hat’, Marlis
Schweitzer (2009) documents similar levels of integration into commodity cul-
ture in Franz Lehár’s hit operetta in productions between 1907 and 1908 across
Europe, Africa, Asia, and North and South America (including five productions
in Buenos Aires alone).10
Although rarely acknowledged in discussions of theatre and globaliza-
tion that focus on megamusicals, this globalized commodity culture in which
audiences are invited to inhabit commodities and allow their bodies to be
inhabited by commodities is also a feature of other forms of theatre. The shop
20 Ulrike Garde and John R. Severn
located within Sydney Opera House invites international visitors to leave
(HSBC-​sponsored) Opera Australia productions with Opera House-​themed
mugs, water bottles, tee-​shirts, tote bags, caps, watches, cufflinks, and earrings.
At the Royal Shakespeare Theatre and Swan Theatre in Stratford-​upon-​Avon,
theatregoers from across the world fill the Royal Shakespeare Company’s shop
before, at the interval in, and after their (Samsung-​sponsored) productions, pur-
chasing anything from Shakespeare-​themed fridge magnets, through crockery,
sweatshirts, masks, aprons, scarves, children’s bibs and romper suits, crowns, and
Midsummer Night fairy wings, to the ultimate in body-​commodity inhabit-
ation: (temporary) ‘tattoos’ of quotations from Shakespeare. Similar scenes are
found at London’s Shakespeare’s Globe. In Berlin, the Schaubühne Berlin and
the Maxim Gorki Theater sell bags, shirts, tee-​shirts, hoodies, and other branded
merchandize. In many theatre venues, overseas visitors who would rather not
carry their souvenirs with them can have them sent anywhere in the world. To
borrow Nanci Griffith’s phrase, ‘unnecessary plastic objects’ are as integral a part
of attending (and funding) many high cultural events as they are of browsing in
a ‘five-​and-​dime’.
However, this level of commodification does not prevent operas, productions
of Shakespeare, or contemporary theatre being reviewed or discussed in aca-
demic articles purely as art, with no mention of the globalized commodity
culture that forms part of attending (and funding) that art. The megamusical,
on the other hand, is rarely discussed as art at all. The above is not intended
as a defence of the megamusical. Instead it aims to show that a focus on the
megamusical as somehow uniquely complicit in or tainted by globalization
and consumerism entrenches a binary between ‘art’ theatre and commodity
culture that does not stand up to scrutiny, and acts as a form of misdirection
through which difficult discussions about the interactions of ‘high’ art, cultural
and other forms of global tourism, heritage marketing, mass production, labour
relations, environmental impact, global corporate sponsorship, and arts funding
are avoided.
Dan Rebellato, in his Theatre and Globalization, uses the megamusical to
exemplify the problems of globalization in relation to theatre, focusing on
conditions of production. Identifying as a feature of globalization a welcome
standardization of production values that goes some way to levelling out
differences between the original and touring or subsequent versions, he argues
that this standardization comes at the price that ‘many of the usual virtues
of theatre are diminished: its liveness, the uniqueness of each performance, its
immediacy, its ability to respond to place and time. In place of these virtues,
these shows remain almost entirely unchanged wherever they are’ (Rebellato
2009, p.42). He also claims that in megamusicals:

the workers have little or no control over their conditions of work; all the
creative decisions were taken years ago and are locked down.The choreog-
raphy is fixed, and the movements are largely determined by the automated
sets and standardized lighting designs, which means that any deviation from
 Theatre(s) and internationalization(s) 21
the pattern risks injury or singing in darkness … Directors, meanwhile,
use little of their training or experience, as they are mainly supervising the
creation of a show that already exists. It’s like asking a chef to supervise the
heating up of a ready meal.
(Rebellato 2009, p.44)

Rebellato refers to these international megamusicals using the ‘unflattering

term’ ‘McTheatre’ ‘because McDonald’s are operated on similar terms. These
are not new productions; they are franchises’ (2009, pp.41–​2).
Rebellato’s use of megamusicals to illustrate the negative consequences
that arise when globalization and theatre meet is problematic on at least three
counts. First, his broad-​brush generalizations simply do not bear close exam-
ination. Franchise-​style arrangements, rather than licensing agreements, with
global producers do indeed dominate the international spread of megamusicals,
with the aim of maintaining quality and enabling the marketing of local
productions as being as good as the original. Nonetheless productions of
megamusicals across the globe do vary according to place, cultural expectations
and references, theatre architecture, and localized gestural meanings, and so
on, and performers are not simply slotted in to preordained blocking as replace-
able moving parts.11 Second, comparative approaches to performance –​such
as consideration of differences in theatrical architecture, audience horizons of
expectation, marketing and publicity, education outreach, ticket prices and so
on –​that have been developed within theatre studies, that would be common-
place (if not mandatory) in analyses of spoken ‘art’ theatre, and that would allow
international versions of individual megamusicals to be submitted to nuanced
scrutiny are not employed. Third, as is the case with much anglophone writing,
the roles of language and translation in non-​anglophone theatre contexts are
simply not acknowledged.
Further, few of the features Rebellato lists are restricted to the megamusical.
Instead, they invite an exploration of creative control in revivals and in inter-
national productions more broadly: Samuel Beckett’s estate is well known for
its refusal to license productions that do not stick rigidly to Beckett’s stage
directions;Arthur Miller’s estate has shut down or forced changes in productions
that altered the playwright’s text, including at Sydney’s Belvoir Street Theatre in
a 2012 production of Death of a Salesman, part of director Simon Stone’s series
of engagements with classic texts discussed further in Chapter 10; Edward Albee
refused permission for productions of Who’s Afraid of Virginia Woolf that changed
the sex or race of his characters; the Rodgers & Hammerstein Organization
was set up by the composer and librettist in order to police and control the
conditions of production of their works; until recently, productions of West Side
Story had to replicate Jerome Robbins’ choreography; co-​productions among
opera houses require assistant directors, assistant choreographers, performers,
creative collaborators, and technicians in the respective companies to follow
preset blocking, choreography, costuming, make-​up, and lighting plots; ballet
companies replicate choreography from previous decades or even centuries, and
22 Ulrike Garde and John R. Severn
often perform to pre-​recorded soundtracks rather than live orchestral accom-
paniment. There is also little difference in the work required by actors, dancers,
and singers in learning existing blocking and choreography when joining the
cast as substitutes in long-​running shows, or in productions of megamusicals.
Rebellato (2009, p.43) claims that ‘there is a clear continuity between
the methods of production employed in creating the megamusical and two
of the most important innovations in early twentieth-​century capitalism: the
time-​and-​motion study and the production line’. Quoting a commentator on
Frederick Winslow Taylor’s time-​and-​motion study, he writes:

‘bit by bit … the factory worker lost control of his tools, the process of pro-
duction, even the way he moved his body as he worked’. The head of the
US machinists’ union, James O’Connell, argued that this turned the worker
into a ‘mere machine, to be driven at high speed until he breaks down, and
then to be thrown onto the scrap heap’.
(Rebellato 2009, pp.43–​4)

He then explains the theory of the production line developed by Charles Henry
Ford, quoting one of Ford’s workers who ‘wrote of the production line system
as “a form of hell that turns men into driven robots”’ (2009, p.44).
However, different aspects of performance appeal to different performers.
There is little obvious difference between, for example, a performer performing
in the chorus of a megamusical and a performer performing in any ensemble
dance, musical, or physical performance. Especially in choreographed works,
performers typically have little or no input into the choreography, and have no
opportunity to vary the choreography in performance –​indeed, in many cases
to do so would be highly dangerous, and would risk the bodies, careers, and
lives of fellow performers. This is not to say that performing in choreographed
ensembles is neither creative nor satisfying. Creativity can come through col-
laboration, the awareness of one’s ability and responsibility to mould one’s
body and voice to create a group performance, the opportunities to display
individual prowess in the service of a common goal. Satisfaction can come
through the exercise of self-​and group discipline and highly developed
technique. On one hand, in terms of working practices, megamusicals have
little that differentiates them from other forms of music-​or dance-​based
theatre. On another, the negative features that Rebellato cites as character-
izing megamusicals are not intrinsically linked to globalization. Employment
conditions in theatre are certainly worrying on a number of fronts, and should
be subject to scrutiny. For example, as Chapters 12 and 13 argue, the effects
of globalization and internationalization on theatre by young performers and
disabled artists give cause for concern. To use the megamusical –​already an
artistically deprecated art form in academic circles –​as shorthand for all that is
wrong with globalization and theatre risks giving a free pass to more obviously
avant-​garde and progressive theatre works that nonetheless entail exploitative
and damaging working practices.
 Theatre(s) and internationalization(s) 23
Megamusicals can, in fact, be attractive employment contexts, and in ways
that do not straightforwardly align with globalization’s practice of exploiting
the cheaper employment costs of foreign labour markets. In an industry
characterized by extremely precarious employment conditions and in national
contexts that do not provide long-​ term ensemble contracts in subsidized
theatre, the megamusical is one of the few opportunities performers have for
secure, long-​ term employment. Miranda Lundskaer-​ Nielsen (2016, p.552)
documents the ‘astonished and indignant response’ to proposed changes
to the Broadway cast of Les Misérables in 1996, which she sees as indicative
of the extent to which such shows ‘had come to be perceived as steady employ-
ment in a traditionally volatile profession’. Sternfeld (2017, p.233) notes the
surprising rise of Hamburg as the German centre for megamusicals: ‘Hamburg
is an expensive city, and the costs of doing business there are often as steep
as bringing shows to Broadway. Theatre rents are expensive, and production
crews are traditionally very well-​paid’. On occasion, megamusical producers
have led the way in remunerating beyond the obligations of the law or industry
norms. For example, Cameron Mackintosh, the British producer most com-
monly associated with the megamusical, chose ‘voluntarily to give [composer]
Lionel Bart a percentage of the profits on his West End production of Oliver!’
(Lundskaer-​Nielsen 2016, p.544), Bart having sold his rights many years pre-
viously during a time of personal hardship. Chris Jones discusses the unusual
decision of the producers of Hamilton –​following representations by the cast –​
to go beyond union conditions and recognize the ‘moral rights’ of the ori-
ginal off-​Broadway cast in co-​creating their roles in what looked likely to be a
major worldwide hit, granting them profit-​sharing status and thereby not only
ensuring ‘that those actors would have an income stream from Hamilton for
the rest of their lives, but also setting a crucial precedent for the blockbuster
shows that followed’ (Jones 2019, p.210). For example, when Frozen opened
on Broadway in 2018, Disney had already agreed that the original cast would
receive a percentage of the ongoing profits as co-​creators (Jones 2019, p.210).
Like most other forms of theatre, the megamusical has a range of working
and employment contexts and practices, and cannot be used as an example
of a uniform set of conditions of production. Indeed, in an art form that is
characterized by production in a range of national contexts, national employ-
ment laws and practices will shape the conditions of rehearsal and performance.
An approach to theatre through the lenses of both globalization and inter-
nationalization might therefore analyse differences (or otherwise) in conditions
of production in international franchises or licensed productions due to local
national legislation and working practices, considering, for example, how pro-
duction companies exploit or improve upon looser worker protections in spe-
cific contexts of production.This approach might of course be extended beyond
the commercial megamusical to global formats such as Rimini Protokoll’s
100% City series, discussed further in Chapter 9.
For many audience members, attending a production of a megamusical
beyond its initial production is in fact a complex, layered experience in terms
24 Ulrike Garde and John R. Severn
of the international, the national, and the local. While star performers might
not be referenced on the cover of the programme or in merchandizing, local
publicity and advertising emphasizes the presence of local or national stars, in
whose image local audiences may be highly invested, and whose particular
performance qualities individualize productions. For example, Sternfeld (2017,
pp.229, 233) discusses the use of the television reality show format in Germany
to allow the public to vote on casting, and describes ‘stunt casting’ –​‘using
celebrities from film, television, or the pop music realm to stir interest in
a theatrical production’ –​as the norm in musical productions in Seoul. An
awareness of local and/​or national specificity thus accompanies an awareness
of the international.
Further, that many musical theatre fans play and compare cast albums of
different ‘international’ productions is testament to the fact that productions
of megamusicals are not uniform, and that the original production need not be
seen as definitive. A fan’s interest in megamusicals is a potential training ground
for an acceptance of difference, a prizing of specific performance ability over
national or linguistic allegiance, an induction into a cosmopolitan mindset, as
much as it is a potential entrainment as a consumer in global capitalism. That
many musical theatre fans in non-​anglophone contexts will already be familiar
with the cast album of the (usually anglophone) original production means that
when they attend a production in their own language, an awareness of trans-
lation is relatively high in the reception process, as is an awareness (and often
pleasurable acceptance) of national and international difference. Changes in
the translated lyrics that produce not only changes in rhyme schemes but also
in emphasis and in meaning are particularly noticeable, and are often a source
of pleasure in their inventiveness. Further, for audiences of megamusicals with
reputations for prominent special effects or audience interaction, a familiarity
with the architecture of the performance venue means that an awareness of
local specificity is also relatively high in the reception process. The reception of
megamusicals beyond their original production context is thus a complex one
that simultaneously draws (often pleasurable) attention to interactions between
the international, the national, and the local in terms of identity as well as
theatre.
An approach that takes into account internationalization might not only
avoid homogenizing tendencies in the discourse around theatre and global-
ization, but might also provide evidence for alternatives to the homogenizing
effects of globalization itself. For example, in her discussions of the Broadway
stage musical version of The Lion King, which is performed by a largely black
cast, Wickstrom focuses on race rather than (also) nationality and culture, and
on the body rather than (also) on language, arguing that:

Disney here is appropriating black bodies in a move that evokes the alleged
‘primitiveness’ of Africa and the animals and humans who inhabit it. It is
not just any bodies, but black bodies who morph into extravagant foliage,
undulating grasslands, the animals of the savannah. These ‘primitives, the
 Theatre(s) and internationalization(s) 25
production seems to suggest, are capable of the wonder of mimesis, a beau-
tiful interchange between diverse forms.
(Wickstrom 2006, p.84)

To frame the show as art, she claims, is ‘an operation that facilitates two
processes. It makes it possible to conjure the “primitiveness” of the African
body and its mimetic powers while simultaneously dominating the primitive
by moving it into circulation on the market as a commodity’ (2006, p.88).
She concludes that ‘the African body in this “enchanting” show becomes the
magical source of magical capitalism to which, American Express card in hand,
we hope to surrender ourselves’ (2006, p.89). In fact, almost every production
of The Lion King features specifically South African performers in key roles,
and a South African perspective sees the show differently, framing the produc-
tion not in terms of the primitive and the body, but of expertise, and focusing
on the high levels of performance skills the show requires, that render those
who master them world-​class artists beyond the confines of The Lion King.12
Lebo M, for example, claimed in the context of the Johannesburg production
that ‘anybody that works in The Lion King … because of its technical com-
plexity, it’s almost like you now have this university certificate where you can
work anywhere else in the world with any other show’ (quoted in Bennett
2020, p.450).
Although almost every production has featured South African performers,
casts are usually international. While Wickstrom saw ‘the African body’ on stage
in the Broadway production, Aubrey Lynch counters her approach by pointing
to ‘the diversity of “black” bodies and the productive tension it created’ in
that production (Cerniglia and Lynch 2011, p.6). Discussing his experience of
working on productions of The Lion King, he describes how

some South Africans made it quite clear that African Americans were not
African: African Americans have no language that connects them to ‘the
Mother Land’ and thus are not more African than any other American –​
skin color was irrelevant. This tension played itself out backstage and col-
ored what happened onstage. For example, in America, it can be considered
rude to speak a language in front of nonspeakers if there is a common
language that all can understand. In South Africa, it is not unusual to mix
many different languages in one conversation, even if there are people who
miss part of what is being said. Backstage, these South African-​language
conversations often went on in front of African Americans who sometimes
felt purposefully excluded. Ethnic tensions backstage, thus, could parallel
animal tension onstage. As we created the show, we were all marking out
our turf, wanting the attention of the creative team and wanting our talent
and work to be valued and utilized. At the same time, we formed a uniform
ensemble that comprised and harnessed our diverse backgrounds into an
experience none of us quite anticipated.
(Cerniglia and Lynch 2011, p.6)
26 Ulrike Garde and John R. Severn
While Lynch frames the South Africans’ linguistic practices in terms of
differences in national social etiquette, one might also frame it as a strategy
for maintaining a sense of national identity and community while working far
from home for long stretches of time. While linguistic practices here overtly
internationalize the working environment, what for some is a defamiliarizing
process is for others a refamiliarizing process, a group domestication of a foreign
workspace. Perhaps unexpectedly for African American cast members in a pre-
dominantly black show, national and cultural differences were more prominent
than ethnic solidarity in the show-​as-​workplace. However, as Lynch suggests,
the tensions arising from this internationalization of the cast led to dramatic
vibrancy in the onstage product.
The production in its original Broadway and subsequent international
productions is neither generically ‘African’ nor straightforwardly ‘primitivist’,
and to privilege the production company (Disney) over its multi-​ ethnic,
multinational production team is to elide the roles of nationality, culture, and
individual identity in both the creative and reception processes. An approach
such as Wickstrom’s that elides race, continental belonging, national identity
and culture, and individual performance styles into the ‘African body’ cannot
account for the complexity of the work itself and its reception. In fact, like
the casting, the show is characterized by a piling up of styles and forms that
complicates identificatory modes of reception, and that invites an audience
experience that does not downplay difference but sees value in the creative
tensions that arise from unexpected juxtapositions. For example, while the stage
version retains the Elton John–​Tim Rice songs from the film version, it adds
songs by or arranged by the Soweto-​born songwriter Lebo M, using South
African harmonies, rhythms, and singing styles, and performed in the non-​
English languages of South Africa, mostly Zulu (Taymor 1998, p.26). Rather
than presenting a homogenized ‘international’ sound that one might expect
from a globalized product designed to appeal to as many consumers as possible,
in The Lion King British commercial pop sounds are juxtaposed with South
African politically charged musical forms in a way that defamiliarizes both.
A melange of performance techniques mirrors this juxtaposition of musical
styles and languages. Black Jamaican choreographer Garth Fagan’s complex and
demanding dance forms aimed to be ‘unlike typical Broadway dance’ on one
hand, and not based on specific African techniques on another, and in some
cases approximated pure concert dance (Taymor 1998, pp.148–​50), while Julie
Taymor’s puppets included rod puppets, full-​size multi-​operator puppets, and
Indonesian Wayang-​Kulit shadow puppets.
Lebo M relates the choral singing styles of his songs for the show to South
African mineworkers and the South African apartheid system (Taymor 1998,
p.157).While white American director Julie Taylor might not grant importance
to whether or not audiences appreciate the meaning of the Zulu lyrics (1998,
p.27), she does not have control over the show’s meanings. On one level, like
audiences for some of the productions discussed in Chapters 6 and 11, audiences
for The Lion King are exposed to unfamiliar languages in non-​threatening ways
 Theatre(s) and internationalization(s) 27
that invite them to see that communication can take place even in the absence
of shared linguistic understanding (in contrast, it must be said, to the back-
stage experience of the African American cast). On another, that a range of
national, ethnic, cultural, artistic, and linguistic traditions can interact and con-
tribute to the creation of an exhilarating theatrical whole offers a –​perhaps
utopian –​image of what can be achieved by an inclusive society. Surrounding
discourse can also make clear the link between onstage song and a very specif-
ically national political history beyond the confines of the place of performance,
a link that politicizes the theatre venue and the theatregoing experience, while
inviting audiences to understand that politics have an importance beyond the
locally and temporally specific.
Megamusicals can and should be critiqued in terms of art, and this might
productively be done through the lens of internationalization, for example by
analysing differences between onstage storylines and their varying contexts of
production and reception. On the one hand, one theatrical function that the
megamusical is not well equipped for is the staging of works that relate to the
here-​and-​now realities and discourses of the cities that host them. On the other,
while many megamusicals appear to aim to function primarily as entertainment,
others engage more or less overtly with political and historical issues beyond
the usual horizons of the theatrical contexts in which they are produced –​revo-
lution in nineteenth-​century France in productions in Tokyo and Seoul, South
African apartheid in productions in New York and Shanghai, among many
others.They thus provide audiences with an awareness of spatio-​temporal diffe-
rence, an exposure to alternative discourses, issues, and viewpoints.
The theatrical and socio-​economic conditions under which the globalized
megamusical has come to flourish do give cause for concern, but are not unique
to the megamusical. By drawing attention to aspects of internationalization –​
such as multinational casting practices from the viewpoint of both employment
contexts and of reception; issues surrounding working overseas; the effects of
the juxtaposition of multiple national musical and other artistic styles; the use
of multiple languages on stage; the incorporation of the national history and
politics of one country in a production in another country –​this section’s dis-
cussion of the megamusical sets the tone for Theatre and Internationalization as
a whole. As the chapters that follow demonstrate, to take into account the role
of internationalization in terms of flows of influence, practices, people, funds,
languages, and works is one way in which nuanced discussions of the complex
interplay between conditions of production and the work itself might proceed.

Structure and contents

The book consists of thirteen chapters in five parts. Following this first intro-
ductory chapter, Part 2 takes the form of a series of snapshots of theatre and
internationalization from the twentieth century to the present day, in order to
demonstrate the diversity of historical processes at work. In Chapter 2, John
Severn considers internationalization as an internal feature of Weimar-​era
28 Ulrike Garde and John R. Severn
German-​ language jazz operettas, in terms of theme, storyline, music, and
dance, in works violently suppressed by the Nazi regime. He then provides a
brief account of the role of internationalization in operetta in the Nazi and
post-​war eras, before examining the challenges that contemporary revivals face
in staging works whose original stagings contained elements, such as black-
face, that are no longer acceptable. With Chapter 3, we jump to a decade
from the mid-​1950s to mid-​1960s, as Jonathan Bollen follows an Australian
theatrical acrobatic duo around Asia, Europe, the Middle East, and the United
States, demonstrating how the rise of jet air travel changed theatrical touring
from circuit-​based to hub-​based itineraries. In Chapter 4, Amanda Harris takes
us from the mid-​1960s to the early 1970s, as she interrogates the contested
space for representation of Aboriginal performance in the years following the
1967 constitutional change that released Aboriginal and Torres Straits Islander
people from Australian government policies restricting movement outside
their home states and territories of residence. She considers how the new
institutions for international exchange of cultural practice that emerged in
that period were internationalized while resisting globalization, emphasizing
specific, localized performance traditions, as performed by the owners of the
songs and dances featured, and demonstrates how this approach stood in stark
contrast to the pan-​Aboriginal representative performances staged by non-​
Indigenous performers that had previously attracted the support of Australian
government and arts bodies. Chapter 5 brings us to the present day, as Sally
Blackwood demonstrates how contemporary digital communication can
facilitate long-​distance international collaborations when used in conjunc-
tion with intensive periods of face-​to-​face creative work. Writing from the
perspective of a director-​academic, she uses situated practice-​based research
on two cross-​disciplinary collaborations that featured both opera and dance
to highlight the impact of internationalization on artform innovation, artistic
exchange, and the cross-​pollination of contemporary practices.
Part 3 focuses on issues relating to language and text in theatre and inter-
nationalization. In Chapter 6, Ulrike Garde analyses the use of foreign and
unfamiliar languages and accents on stage, taking examples that demon-
strate how the use of multiple languages can reflect the linguistic demands of
productions designed to travel internationally and/​or the increased forced or
voluntary mobility of their makers and audience members. Chapter 7 considers
the opera libretto, a theatrical component with a long history of internation-
alization. Comparing productions from Austria and the United States, Amy
Stebbins identifies a contemporary de-​internationalization at work in terms
of commissioning practices and the dramaturgy that emerges from the con-
temporary libretto. In Chapter 8, Felix Lempp draws on works by the German
playwright Falk Richter to examine the role of text in the process of creating
internationalized and globalized onstage theatrical spaces.
Part 4 covers internationalization in contemporary theatre productions.
With Chapter 9, Johannes Birgfeld begins this section by providing an over-
view of internationalization and theatre in the German-​speaking countries. In
 Notes 29
Chapter 10, Margaret Hamilton then analyses productions of Ibsen in Germany
and Australia to demonstrate the challenges and tensions of productions that
use historical works that have subsequently become global ‘brands’ in order to
critique globalization and capitalism.
Part 5 looks at internationalization from the viewpoint of performers,
audiences, and institutions, examining how cohorts such as disabled performers,
refugees and other migrants, and young artists engage with, have access to, and
are affected by internationalization. In Chapter 11, Brangwen Stone looks at
two Berlin theatres, the Maxim Gorki Theater and the Komische Oper Berlin,
in terms of the ways that a city has engaged through theatre with its migrant and
post-​migrant populations. Focusing on young performers, Benjamin Hoesch
then uses Chapter 12 to argue for internationalization as an ambivalent process
for individuals and institutions. Using organizational theory, he demonstrates
how internationalization and the promotion of young talent function as two
‘legitimizing myths’ for theatre companies and festivals in German-​speaking
countries, a situation that can result in overproduction and short professional
lives. Finally, in Chapter 13, Christiane Czymoch, Kate Maguire-​Rosier, and
Yvonne Schmidt provide a critique of internationalization in theatre from
the perspective of disability performance and aesthetics. Using examples from
Australia, Austria, Switzerland, and elsewhere, the authors argue that there are
limits to the ways in which internationalization might be distinguished from
the neoliberal ideology of globalization. The international flow of ideas and
aesthetic concepts, and the need for disabled artists to travel, demand flexibility,
self-​sufficiency, and mobility, all keywords deeply connected to a neoliberal idea
of being human that contains a threat to non-​normative bodyminds. At the
same time, international recognition and exchange enables societal inclusion
of disabled artists and disabled people more widely. Thus, from a disability per-
formance perspective, the final chapter argues, internationalization reveals the
current state of theatre as an ambivalent ongoing process.

Notes
1 For an account of Bernhardt’s 1891 Australian tour, see Fraser 1998. For Bishop in
Australia, 1856–​57, see Davis 1997, pp.179–​97.
2 At the level of the monograph and edited collection, see, for example, Palgrave
Macmillan’s Transnational Theatre Histories series (2015 onwards, eds. Christopher
Balme, Tracy David and Catherine Cole); the cluster of works relating to operetta,
musical theatre, and other forms of popular theatre in the late nineteenth to early
twentieth centuries (e.g. Kelly 2010; Becker 2014; Platt et al. 2014; Senelick 2017;
Leonhardt 2018; Scott 2019); the work on border crossings in early modern theatre
(e.g. Henke and Nicholson 2008, 2014; Katritzky and Drábeck 2019).
3 For Madame Carandini, see Wentzel 1969; for the Contessa Filippini’s career,
see Beeching 1988; for Djemma Vécla/​Margherita Grandi, see Waters 1996; for
Algeranoff, see Southey 1993.
4 For more on recent exiles and theatre, see Meerzon 2012.
5 For Gertrud Bodenwieser, see Cuckson and Reitterer 1993.
30 Notes
6 See Henke 2008 and Katritzky 2008 for discussions of women and early modern
touring commedia dell’arte and other theatrical troupes beyond the Italian peninsula.
7 For discussions of Anna Chaimbeul and Nō (as well as the influence of Jung on the
play), see Macleod 2010, pp.409–​11; Dòmhnallach 2016, pp.170–​71, 180–​81.
8 For an extended study that displays the variety among prominent examples of the
megamusical, as well as common musico-​dramatic structures, predominantly on
New York’s Broadway and London’s West End, see Sternfeld 2006.
9 Wickstrom subsequently published a revised and updated version of her article
in her 2006 book, Performing Consumers. While she does glance towards historical
precedents in this book, her examples are of plays that thematize consumption and
commodification, rather than earlier examples of commodification associated with
theatre.
10 Although Schweitzer does not mention them, successful productions of The Merry
Widow were also staged in Melbourne and Sydney in 1908.The operetta was thus in
production on every continent other than Antarctica. For more on early twentieth-​
century theatrical globalization, see Becker 2015.
11 For how megamusicals have varied according to place and language, and how local
directors have engaged with international producers to incorporate these changes,
see, for instance, Bennet (2020, pp.449–​50) (examples from South Africa, to incorp-
orate local political resonances, and China, to incorporate playing with dialects
and local performance traditions, including elements of Chinese opera and local
song); Lundskaer-​Nielsen 2016, pp.550–​51 (examples from Japan, due to gestural
connotations and language requirements –​‘in Japanese they can only fit 30–​50
per cent of the original words into the same musical phrase’ –​that have knock-​
on effects for meaning, blocking, and choreography; and the Netherlands, due to
theatre architecture and language requirements relating to rhyme, that likewise have
knock-​on effects for blocking and choreography). Aubrey Lynch II, dance captain,
associate choreographer, and associate producer, who has overseen international
productions of The Lion King, describes how he altered movement for the London
production, and discusses changes for the German, Japanese, and South African
productions, including strategic use of ethnic and cultural casting (Cerniglia and
Lynch, 2011, pp.6, 8). In contrast to the critique of globalization as a theatrical
homogenizer, Lynch views localized change and adaptation rather than uniformity
as essential to commercial success:

The commercial success of The Lion King on Broadway led quickly to

productions with international partners. But adaptation –​along with
translation –​has often been necessary in order to achieve success in each new
locale. Long-​term success of a local production also requires an enormous
amount of patience for cross-​cultural collaboration. Especially in new markets
with new producing partners, the Disney team often must sit back patiently
while the local team works out things on its own –​because local ownership of
The Lion King is essential for long term success.
(Cerniglia and Lynch, 2011, p.8)

For details of how the production company for Les Misérables in Tokyo provided
opportunities for performers unfamiliar with Christianity or French history and
culture to inform their roles by studying ‘religion, the notion of radical protest, and
nineteenth-​century European history’ before rehearsals began, see Sternfeld 2017,
pp.226–​7. Sternfeld notes similar training schools in China (2017, pp.230–​31).
 Notes 31
12 Writing in 2011, Lynch explains, ‘[Director] Julie [Taymor] was able to convince
[US] Actor’s Equity to allow South Africans for the first six months of production
and performances. Disney later pushed for this essential element in other countries,
and every production with the exception of Japan has a minimum of five South
African singers’ (Cerniglia and Lynch, 2011, p.6).
1 For an account of the rise of jazz and an interest in America in Germany, see Lenz
2015. For an account of the introduction of ‘African-​American’ dance and musical
forms into revues and operettas in Berlin and Vienna, see Papenburg 2015.
2 Translations of titles in italics indicate English-​ language titles if works were
performed on anglophone stages in the 1920s or 1930s and the English-​language
title is a close translation of the German. Translations in Roman print indicate a
direct translation of the German title for works which either were not produced on
the anglophone stage, or for works the English title of which is not a close trans-
lation of the German. In the latter case, the English-​language title is given in the
endnotes.
3 In their English-​language productions, Eine Frau, die weiß, was sie will! and Die Perlen
der Cleopatra were entitled Mother of Pearl and Cleopatra respectively.
4 Die Bajadere was staged in English as The Yankee Princess. Weill’s German-​language
Kuhhandel was not performed in his lifetime, but was performed in 1935 in London
in an English-​language version as A Kingdom for a Cow. Despite their late dates,
Kálmán’s Arizona Lady and Marinka are included in the Komische Oper’s jazz-​
operetta roster as rare examples of works by a Weimar-​era composer of Jewish
origins who continued composing in exile after fleeing Nazi Germany for the
USA. Arizona Lady was left unfinished at the time of his death in 1953, and was
performed posthumously in a version completed by his son.
5 Eine ‘Berliner Jazz-​Operette’ gab es in dieser Zeit jedoch nicht. Sie ist ein Produkt
einer Operettenrenaissance des 21. Jahrhunderts … 1931 konstatierte Karl
Westermeyer: ‘Die Jazz-​Operette ist eben noch nicht da, weil ihr Meister noch
kommen muss … Die Operettenkomponisten ließen es genug damit sein, ihre
Salonromantik ein wenig mit Jazzinstrumenten und -​rhythmen aufzufärben. Was
stilistisch natürlich barer Unsinn ist’.
6 The effect of the original Hungarian-​language Viktória in Budapest would of course
have been different, with straightforward onstage representatives of a Hungarian
‘Self ’ contrasting with ‘Others’.
7 Mischung aus Touristenschnulze, politischer Komödie und erotischer Revue.
8 Details of the full instrumentation for the reconstructed score is available, along with
the libretto, at www.musikundbuehne.de/​nc/​stuecksuche/​detail/​werk/​zeigen/​die-​
blume-​von-​hawaii.html [accessed 24 April 2020].
9 Die Politik wurde nicht kritisiert, sie wurde ‘verjuxt’.
10 For fuller discussions of Nazi-​era operetta, see Grünberg 1984; Schaller 2007;
Kauffmann 2014, 2017, 2019; Klotz 2014, pp.85–​97; Cullmann and Heinemann 2019.
11 Der kleine Giftzwerg hatte nur ein Ziel … Man sollte diesem Deutschenhasser direkt
den Pass einziehen und per Wurfsendung versenden. Um ihn über Palästina austeigen
zu lassen (comment by ‘Der Stef ’ on YouTube clip ‘3sat Doku –​Interview mit Barrie
Kosky und dem Volkslehrer UNGEKÜRZT IM. Available from www.youtube.
com/​watch?v=yPBWDZEDbp8 [accessed 24 April 2020]).
1 Undated letter. Records of the Tivoli Theatre (Vic.), State Library of Victoria,
Melbourne. MS11527, Box 84. All subsequent references to the Dalrays–​Tivoli cor-
respondence are from this collection. Original spelling and grammar are retained in
quotations.
32 Notes
2 The data models for this method are described in Bollen and Holledge (2011) and
Bollen (2016); see also Bench and Elswit (2016) for digital mapping applied to
dance touring.
3 In January 1958, 1 US Dollar = 0.4470 Australian Pound = 0.3559 British Pound;
rates from www.measuringworth.com/​ datasets/​
exchangeglobal; [accessed 25
November 2019].
4 Martin auditioned Henderson & Johnson and Ken Noyle at Firpo’s on 21 January
1957, according to the ‘Acts and Actors’ files in the Tivoli collection.
5 Advertisements, China Mail and South China Morning Post, December 1959–​July 1960.
6 Dave Jampel, in Variety, wrote: ‘Del Rays [sic] then go to Europe for a year with
12 months of options for U.S.’ (21 September 1960, p.77).
7 I am grateful to Mikael Strömberg for providing information on The Dalrays in
Sweden.
8 On technological neutrality versus determinism in actor-​network theory, Latour
(2002, p.255) writes: ‘The paradox of technology is that it is always praised for its
functional utility, or always held in contempt because of its irritating neutrality,
although it has never ceased to introduce a history of enfoldings, detours, drifts,
openings and translations that abolish the idea of function as much as that of
neutrality’.
1 Sections of this chapter have been reworked from Chapter 6 of my book Representing
Australian Aboriginal Music and Dance 1930–​70, Bloomsbury Academic Publishing,
2020.
2 Australian Commonwealth Film Unit, Australian Colour Diary. No. 36, Title
No.: 12732, National Film and Sound Archive (NFSA), Canberra; Gregson Edwards,
‘Dancing for the Future’, clipping in Aboriginal Theatre Foundation 1963–​1983,
Harry Christian Giese Collection, 15-​036-​005, Arafura Research Archive, Charles
Darwin University (henceforth Giese Collection).
3 Haag had built a reputation directing similar shows through the 1963 Aboriginal
Theatre that toured to Melbourne and Sydney.
4 B.G. Dexter to The Commissioner-​General, (Australian Exhibit Organisation for
Expo 70, Canberra) 16 September 1968, International Exhibition Expo 70 Osaka
Japan –​Aboriginal Dance Ensemble F1, 1968/​3396, National Archives of Australia
(henceforth NAA), Darwin.
5 Pavilion of Australia, Expo 67 in Montreal, http://​expo67.ncf.ca/​expo_​australia_​
p1.html, [accessed 24 September 2019]; Clipping, Letter to the Editor: ‘Boomerang
Throwing for New Australians’, 13 November 1967 [details not recorded] in A.W.
Grant papers relating to NADOC and Aboriginal Welfare, MLMSS 4265, State
Library of New South Wales, Sydney (henceforth SLNSW).
6 National Aborigines’ Day Observance Committee (Australia) (1964). MS 3677,
National Library of Australia, Canberra (henceforth NLA).
7 Attwood and Markus also suggest that the moral authority the referendum bestowed
on the incoming Labor Government in 1972 gave the government the mandate it
needed to implement a major programme of reform.
8 The authors quote from Rodney Hall, interview, ‘The Fair Go: Winning the 1967
Referendum’, ABC Television, 1999.
9 President’s Report 1969–​1971, p.6, Aboriginal Theatre Foundation 1963–​1983,
Giese Collection.
10 Aboriginal Theatre Foundation 1963–​ 1983, Giese Collection. Giese recalled
that Coombs had pushed for the Foundation to be Aboriginal-​run, though he
 Notes 33
(Giese) had believed there would be benefits in retaining the expertise of the non-​
Indigenous members: Side A,Tape Eighteen, Harry Giese Oral History, NTRS 226
TS 755, Northern Territory Archives, Darwin.
11 President’s Report 1969–​1971, Aboriginal Theatre Foundation 1963–​1983, Giese
Collection.
12 Other cultural festivals begun in the last two decades have developed into more
pedagogical models that aim to educate settler Australians, like Garma (Yolgnu lands
near Nhulunbuy), or alongside those strongly oriented in the culture of the host
community, like Milpirri (Warlpiri lands in Lajamanu) or Mowanjum (Worrorra,
Ngarinyin and Wunambal lands in Derby) (Slater 2018).
13 List compiled by Lance Bennett, Aboriginal Theatre Foundation 1963–​1983, Giese
Collection.
14 ‘Expo Dancers Will Continue’ News, 18 May 1970, clipping in International
Exhibition Expo 70 Osaka Japan –​Aboriginal Dance Ensemble F1, 1968/​3396,
NAA, Darwin.
15 A rare exception to this was Aboriginal tenor Harold Blair, who toured the
USA in 1949. A few years later, when producer, artist and Aboriginal activist Bill
Onus sought to do the same, his visa was blocked by ASIO (Australian Security
Intelligence Organisation). See Amanda Harris, Tiriki Onus, and Linda Barwick,
‘Performing Aboriginal Workers’ Rights in 1951: from the Top End to Australia’s
Southeast’ (forthcoming 2021).
16 Beth Dean to Lloyd Edmonds, 14 October 1967, Subject file: ‘Kukaitcha.Technical
Papers, Letters etc.’, 1967–​1969 Correspondence, Beth Dean and Victor Carell
Papers, MLMSS 7804/​19/​5, SLNSW. Original spelling, grammar, and capitalization
are retained in quotations from correspondence unless otherwise indicated.
17 Dean to His Excellency Eugenie de Anzorena, Ambassador of Mexico,
4 November 1967, Subject file: ‘Kukaitcha. Technical Papers, Letters etc.’, 1967–​
1969 Correspondence, Beth Dean and Victor Carell Papers, MLMSS 7804/​19/​5,
SLNSW, emphasis added.
18 Beth Dean, ‘Aboriginal Theatre: An Insight into Native World’, Daily Telegraph,
6 December 1963. Transcript of review retained in Divider –​Aboriginal Theatre,
Box 46 Folder 65-​12, Records of Australian Elizabethan Theatre Trust MS 5908,
NLA. Photos of Yangarin, Nalakan and Mungali performing for schoolchildren
accompany those of Yangarin numbered AR00019.012.084 and AR00019.012.104
in the Beth Dean Carell collection no. 1, National Museum of Australia, Canberra.
19 Beth Dean to Alice Moyle, 1 March 1968, Subject file: ‘Kukaitcha.Technical Papers,
Letters etc.’, 1967–​1969 Correspondence, Beth Dean and Victor Carell Papers,
MLMSS 7804/​19/​5, SLNSW.
20 Notebook in Subject file: ‘Kukaitcha. Technical Papers, Letters etc.’, 1967–​1969
Technical Papers, MLMSS 7804/​19/​6, SLNSW, emphasis added.
21 Peggy van Praagh to Beth Dean, 6 June 1969, ‘Notes & letters re early efforts to get
Ballet into National repertoire’, 1954, Beth Dean andVictor Carell: Correspondence:
Corroboree, MLMSS 7804/​3/​6, SLNSW.
22 Victor Carell to van Praagh, 24 June 1969,‘Notes & letters re early efforts to get Ballet
into National repertoire’, 1954, Beth Dean and Victor Carell: Correspondence:
Corroboree, MLMSS 7804/​3/​6, SLNSW.
23 Elkin to Dorothy Helmrich, 10 February 1969, Carell, Victor –​Proposed ballet of
the South Pacific A2354 1969/​289, NAA, Canberra.
34 Notes
24 Victor Carell to W.C. Wentworth, 25 February 1969, Carell, Victor –​Proposed
ballet of the South Pacific A2354 1969/​289, NAA, Canberra. Correspondence
in this collection and in the Mitchell Library, SLNSW shows the extent of their
lobbying for inclusion in these events –​first by proposing that Dean’s ballet
Kukaitcha be staged, then attempting to convince that their input was essential
to any performance involving Aboriginal dancers from the Top End and asking
to work with Stefan Haag on a production, and finally working with Helmrich
on Corroboree. Carell again proposed that Corroboree be staged for the 1988 bicen-
tenary, a proposal that was considered by the General Manager of the Sydney
Opera House and passed on to Sydney Dance Company Artistic Director Graeme
Murphy, but ultimately rejected.Victor Carell to Lloyd Martin, 5 May 1985, Beth
Dean and Victor Carell: Correspondence: Corroboree. Beth Dean and Victor
Carell: Correspondence: Corroboree; ‘Notes & letters re early efforts to get Ballet
into National repertoire’, 1954, Beth Dean and Victor Carell papers, MLMSS
7804/​3/​6, SLNSW.
25 Victor Carell to W.C. Wentworth, Minister for Social Services and Aboriginal
Affairs 26 May 1969, Carell, Victor –​Proposed ballet of the South Pacific, A2354
1969/​289, NAA, Canberra.
26 H.C. Coombs, Chairman to W.C.Wentworth 4 June 1969, Carell,Victor –​Proposed
ballet of the South Pacific, A2354 1969/​289, NAA, Canberra. Funding of $20,000
to establish the Aboriginal Theatre Foundation was matched by the Council for
Aboriginal Affairs. Aboriginal Theatre Foundation 1963–​1983, Giese Collection.
27 ‘NT Theatre Foundation Shuns Cook Celebrations’, Northern Territory News,
14 February 1970, clipping in Carell,Victor –​Proposed ballet of the South Pacific
A2354 1969/​289, NAA, Canberra.
28 ‘Aborigines’ Ban Won’t Stop Cook Ceremony’, Daily Telegraph, 7 February 1970;
‘They Won’t Dance for Captain Cook’, Sydney Morning Herald, 19 February 1970.
Clippings in Folder ‘Aboriginal Protest’, II. Files of photocopies of newscuttings
concerning the Bicentenary, 1970, MLK 376, Sir Asher Joel –​papers, 1953–​1970,
MLMSS 3284, MLOH 3, SLNSW.
29 Leslie Greener to Beth Dean and Victor Carell, 28 February 1970, Letters received
from Leslie Greener Beth Dean and Victor Carell Papers, 1953–​1970, MLMSS
7804/​3/​2, SLNSW.
30 Unaddressed handwritten letter in Beth Dean’s hand, n.d. (but content indicates
it was written in the lead-​up to the Bicentenary 1969/​70), Subject file: Captain
Cook Bi-​Centenary Celebrations, 1960–​1970, MLMSS 7804/​11/​3, Beth Dean and
Victor Carell Papers, SLNSW.
31 Report Australian Tour of the Ballet of the South Pacific April/​May 1970, Subject
file: Ballet of the South Pacific –​Reports, Statements of Account and related papers,
Beth Dean and Victor Carell Papers, MLMSS 7804/​10/​4, SLNSW.
32 The full cast included Irene Babui, William Caulda (Nalayandi), William Frederick
(Nanganaralil), Jackson Jacob, Larry Lanley, Leon Puruntatameri, Gordon
Watt, Regina Portamini, John Mungali, Billy Nalakan, Cyril Ninnal, Edward
Puruntatameri, Arthur Roughsey, Simon Tipungwuti, Joe Yangarin (Gumana)
Subject file: Ballet of the South Pacific –​Reports, Statements of Account and
related papers, MLMSS 7804/​10/​4, Beth Dean and Victor Carell Papers, SLNSW,
Sydney. Ballet of the South Pacific also toured to Canberra Theatre 24–​25 April 1970,
see Canberra Theatre Centre Ephemera at the ACT Heritage Library.
 Notes 35
33 Carell wrote to Ted Shawn (who had publicly applauded Aboriginal dancers after
visiting the Delissaville community in 1947), suggesting an international tour of
Aboriginal dancers to Shawn’s theatre, Jacob’s Pillow. Victor Carell to Ted Shawn,
27 September 1970, Subject File: Ted Shawn, 1947; 1968–​84, Beth Dean and Victor
Carell Papers, MLMSS 7804/​25/​2, SLNSW.
34 Barbara Hall, ‘Islanders Upstage Aborigines’ [no other details retained], clipping in
Subject file: Captain Cook Bi-​Centenary Celebrations, 1960–​1970, MLMSS 7804/​
11/​3, Beth Dean and Victor Carell Papers, SLNSW.
35 Leslie Walford, ‘Our Town’, Sun Herald, 12 April 1970, clipping in Subject
file: Captain Cook Bi-​Centenary Celebrations, 1960–​1970, MLMSS 7804/​11/​3,
Beth Dean and Victor Carell Papers, SLNSW.
36 Aboriginal Theatre Foundation 1963–​1983, Giese Collection.
37 Programme of the South Pacific & National Folkloric Festival, Australian Tour
1973, Sydney Opera House Archives, Sydney.
38 Programme for Official Opening by Her Majesty the Queen, 20 October 1973;
Programme for Royal Concert, 20 October 1973, Sydney Opera House Archives,
Sydney.
1 Monteverdi was niet de eerste maar wel de bekendste die muziek, dans, zang en
drama verenigde en zo het fundament voor een nieuwe kunstvorm legde. Dat
gegeven kwam goed uit de verf bij Waltz, gezien haar sterke focus op die integratie
van disciplines. [Translations from this article are my own.]
2 De Duitse regisseur en choreografe Sasha Waltz heeft sinds haar eerste
operachoreografie, Dido and Aeneas in 2005, haar eigen ‘subvorm’ binnen het
operagenre ontwikkeld. ‘Choreografisch muziektheater’ wordt het wel genoemd.
Leidend voor haar is de vergaande integratie van muziek, dans en zang, waarbij haar
dans een veel grotere en volwaardiger plaats inneemt dan de doorsnee operaballetten,
die vaak als redelijk los van de dramatische handeling staande tussendoortjes
fungeren en daarom ook regelmatig gecoupeerd worden.Waltz heeft door de jaren
heen een kenmerkend ‘idioom’ laten zien in haar producties: dansende zangers en
(ogenschijnlijk) zingende dansers, actief participerende musici, ruimte voor stilte
en een aardige dosis abstractie.
3 In opera zijn meerdere kunstvormen voortdurend op zoek naar hun verhouding tot
elkaar. Al meer dan vier eeuwen lang balanceren ze samen op één koord, zoekend
naar de perfecte gewichtsverdeling, de ultieme synthese. Met Orfeo grijpt Sasha
Waltz terug op de oorsprong van dat balanceren en voegt er een nieuwe dynamiek
aan toe.
4 I coined the term ‘opera architect’ in 2018 to describe the collaborative creator of
an opera whose background is not necessarily in composition, but may come from
theatre and performance, stage direction, choreography or other multi-​artform
practice. The opera architect is the key creative driver of an operatic experience,
leading the construction and composition of an opera, and shaping, structuring
and forming an operatic work from conception to staged premiere. The opera
architect works collaboratively with a creative team comprising of (but not limited
to): composers, choreographers, designers, performers, and producers. The opera
architect is also an intrinsic part of the operatic landscape, an active agent working
to reshape the business of opera and its evolving ecology, and enabling this super-​
hybrid art form to champion systemic change in gender equity and diversity in
the performing arts. The opera architect advocates for opera to connect to and
reflect on contemporary society and societal issues through storytelling, platforming
36 Notes
diverse voices, ensuring equal representation of women, and the bold exploration of
what opera can be.
1 In 2018 Richter was made a Chevalier de l’Ordre des Arts et des Lettres. He won
the Director of the Year award in the 2018 critics’ survey of the journal Theater heute,
and the 2019 Teddy Award.
2 In 2014, and again in 2016, theatre critics in Germany, Austria, and Switzerland
elected the Gorki ‘Theatre of the Year’ (Maxim Gorki Theater, 2019).
3 The Gorki uses ‘Charms’, in line with the standard German translation.
4 See Gramling (2016, p.17); Roche (2013, p.236).
5 Complexity of Belonging’s tour also included opening the 2014 SPRING festival in
Utrecht and performances at the Théâtre National de Chaillot, Paris, the National
Theater Concert Hall, Taipei, the 2016 New Zealand Festival, the 2017 Aarhus
Festival in Denmark, and in 2018 at Theater Aachen, Germany.
6 During the 2016 New Zealand Festival season Laura Jane Turner joined the cast as
a fifth professional actor.
7 Their earlier collaborations were Nothing Hurts (1999), Trust (2009), Protect Me
(2010), and Rausch (2012). Safe Places, a sixth joint production discussed in detail in
Chapter 9, premiered on 8 October 2016 in Frankfurt am Main.
8 See for example, Stokvis (n.d.) and Baker (2015), and the announcement in
Le Monde (2015).
9 As Ulrich Beck and Edgar Grande (2007, p.13) put it, unlike other forms of social
alliances, this cosmopolitan approach to difference perceives ‘others as different and
at the same time as equal’.
10 I Am Europe (2019) is performed in Arabic, Croatian, Dutch, English, French,
and Portuguese (Richter 2019). Earlier in the decade, Richter tended to include
passages or scenes in English in some of his plays, such as Protect Me (2010). In 2016
his play Je suis Fassbinder premiered in the French translation by Anne Monfort at
the Théâtre National de Strasbourg.
11 Regarding ethnocultural accent and Standard Australian English, see Cox and
Palethorpe (2010).
12 Here, Karpinksi summarizes the concept explored by Alison Phipps (2013).
13 Richter refers to ‘der europäische Außenblick’ and describes the rehearsals as com-
prising ‘Improvisationen mit Text, Performance und Bewegung, persönlichen
Geschichten und Recherchen’ (translations my own).
14 ‘By 2016, with a population of 23.4 million [in Australia], 26.3 per cent were born
overseas … the country profile for those born overseas has changed significantly.
China now represents 8.3 per cent of the overseas-​born population and is one of six
Asian countries listed in the top ten countries of birth’ (Simon-​Davies 2018). See
also the dramaturg’s and translator’s comments (Schlusser 2015).
15 At the Festival d’Avignon 2019, smart glasses were available for several productions
so audiences could easily access translations.
16 Regarding Langhoff ’s earlier work at the Ballhaus Naunynstraße, see Sharifi
(2018). For responses to the changes implemented by Lilienthal at the Münchner
Kammerspiele, see Nachtkritik (2018).
17 In 2014 German theatres and orchestras were placed on the national UNESCO list
of Intangible Cultural Heritage.
18 Non-​ Turkish-​ speaking spectators were provided with an accompanying pro-
gramme booklet containing the German translation.
 Notes 37
19 Tahera Hashemi joined the Deutsches Nationaltheater Weimar at the beginning of
the 2019/​20 theatre season.
20 die Schauspieler des Exil-​Ensembles, die in Deutschland sind, weil sie geflohen
sind oder in ihrem Heimatland nicht arbeiten konnten, mit einem Stück aus einer
ganz anderen Zeit in Kontakt bringt, in der Charms eine ganz ähnliche Erfahrung
gemacht hat.
21 Oberiu, an ‘Association for Real Art’ was founded in 1927 by Kharms, Alexander
Vvedensky, and Nikolay Zabolotzky.
22 I consider the second silent scene where the audience observes Elizaveta going
about her everyday routine as separate because it is set apart from the following
monologue through a change in lighting and speed, similar to other changes of
scene in the production. As a result, the third scene on stage is the first in the
play text.
23 The play contains nineteen sections; the production at the Gorki featured an add-
itional opening scene which introduced audiences to Daniil Kharms’ work and life.
24 See for example Hakan Savaş Mican’s production of Die Nacht von Lissabon, Maxim
Gorki Theater 2019.
25 I interviewed Christian Weise in Berlin on 16 August 2019. I thank him for his co-​
operation in my research.
26 Die treten ein, soviel steht fest! Um mich zu schnappen und auszumerzen! (leise)
Was habe ich nur getan! Fliehen? Ja, Fliehen! Doch wohin? Diese Tür führt zur
Treppe, doch auf der Treppe treffe ich die. Durchs Fenster vielleicht? (Schaut durchs
Fenster.) U-​u-​uh! Viel zu hoch … Unmöglich zu schaffen. Allein; Was tun? Da!
Schritte! Das sind die! (original emphasis).
27 See, for example, Glissant (1998, pp.45–​46).
28 In 2017 18 per cent of Berlin’s inhabitants had a foreign passport, which gives some
indication as to the population’s linguistic diversity (Süddeutsche Zeitung 2017).
Regarding English and multilingualism, see García and Lin (2018). I would also like
to thank Christopher-​Fares Köhler, dramaturg at the Gorki and translator, for our
related informative discussion.
29 See, for example, Laudenbach and Goetz (2019). Eliza Apperly (2019) reports
information requests, including ‘on the participation of its artistic director, Shermin
Langhoff, in a public rally against racism and discrimination. Separately, the party
also tried to inspect Langhoff ’s employment contract. Langhoff later received death
threats against her and several artists she works with’.
1 The twenty-​ first-​
century composers named in the Guardian article are: John
Adams (USA), Thomas Adès (UK), George Benjamin (UK), Nico Muhly (USA),
Mark Simpson (UK), and Alma Deutscher (UK).
2 Exceptions to this include a caste of new works often produced as co-​productions
between the wealthiest opera houses.
3 Mit der Grand Opéra hat Eugène Scribe ein dramaturgisches Modell geschaffen, das
seine Wirkung weit über Frankreich hinaus entfaltet: An diesem Vorbild orientieren
sich nicht nur der junge Richard Wagner und der Verdi der sechziger Jahre, noch bis
zum Anfang des 20. Jahrhunderts beziehen sich sowohl italienische Komponisten
wie die Begründer nationaler Operntraditionen in osteuropäischen Ländern immer
wieder auf der Grand Opéra. (All translations my own).
4 seit Ende des Ersten Weltkriegs [sind] die vormals so glänzenden
Verdienstmöglichkeiten nicht mehr gegeben.
5 For more on the concept of ‘fulguration’ see Lorenz (1987, p. 49).
38 Notes
6 ein zur Komposition bestimmter Text, dessen Inhalte und Form entscheidend durch
die Rücksicht auf diese Bestimmung geprägt werden.
7 In solchen Fällen bleibt die Textsemantik –​bestenfalls – sekundär… . Als
‘Ermöglichungsstruktur’ leisten Operntexte –​etwa –​die Synchronisierung von
Orchestermusik, Gesang, Körpersprache, Bühneneffekten –​und unter funktionaler
Perspektive werden sie so durchaus dem Regelwerk des Fußballspiels (oder anderer
Ballspiele) äquivalent, welches unterstützt vom Medium ‘Ball’ und der Pfeife
des Schiedsrichters über neunzig Minuten die Bewegungen von (mindestens)
fünfundzwanzig menschlichen Körpern synchronisiert.
8 OPERA America also funds new work in Canada as well as the USA, though
Canadian companies make up only a small percentage of OPERA America’s total
projects. In 2019 only two of OPERA America’s thirty-​eight world premieres were
in Canada.
9 Die Leute kennen noch 15 Opern. Das waren mal 50 –​und früher noch viel mehr.
10 Die Krise der neuen Oper ist eine Krise des Librettos.
1 Theatre studies has concentrated on questions of physical stage design when dealing
with the spatial aspects of Richter’s productions, while literary studies has largely
ignored literary conceptions of space. See, for example, the contributions in Richter
2004, especially by scene designer Jan Papplebaum. See also Katrin Hoffmann’s
(2012) remarks on her stage designs for Richter. Tigges (2012) reflects on Richter’s
theatrical space conceptions as autofictional spaces.
2 Translations from Richter 2017, 2018, and Foisil 2014 are my own.
3 ‘Eigentlich sind wir oft allein, wenn wir kommunizieren’.
4 ‘[L]‌etztlich wird, glaube ich, über den Körper des Schauspielers für den Zuschauer
eigentlich sichtbar, wie Menschen fühlen, leben, denken und wie sie von der
Gesellschaft beeinflusst werden in ihrem Handeln’.
5 ‘Das scheinbar Fremde kann im Theater vertraut werden, dem Zuschauer nah
kommen’.
6 ‘Ich glaube, dass sich das Nationale so langsam auflöst, also deshalb kann ich das gar
nicht beschreiben … was ist das deutsche Theater? Ich denke, man wird bald von
einem europäischen Theater reden’. Richter’s comments preceded the discussions
about migration and border protection in Germany that reached a peak in 2015–​
16: the thrust of his recent works such as FEAR (2015) and Safe Places (2016) make
it doubtful whether he would still speak of an imminent dissolution of the national.
7 ‘Die Komponisten haben im Vorfeld Texte von mir erhalten und konnten sich dann
entscheiden, für welche Besetzung sie diese vertonen würden. Dabei konnten sie
frei zugreifen auf Opernsänger*innen, Sprecher*innen, Schauspieler*innen, einen
Popsänger und das Orchester der Staatsoper’ (Richter 2018, pp.72–​73; my emphasis)
(I provided the composers with texts in advance so that they could decide for
which ensembles they would set them to music. For that, they had free access to opera
singers, speakers, actors, a pop singer, and the Staatsoper orchestra).
8 ‘[d]‌ass wir nicht alles über kompliziertere Kommunikationsformen organisieren
können, sondern dass wir doch immer sehr direkt miteinander verhandeln müssen’.
1 ‘By the Schengen Agreement signed on 14 June 1985, Belgium, France, Germany,
Luxembourg and the Netherlands agreed that they would gradually remove controls
at their common borders and introduce freedom of movement for all nationals of
the signatory Member States, other Member States or third countries’ (European
Migration Network 2010, p.149).
 Notes 39
2 Currently the Schengen countries are Austria, Belgium, Czech Republic,
Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Iceland, Italy,
Latvia, Liechtenstein, Lithuania, Luxembourg, Malta, Netherlands, Norway, Poland,
Portugal, Slovakia, Slovenia, Spain, Sweden, and Switzerland.
3 ‘Freedom of movement for workers has been one of the founding principles of the
EU since its inception. It is ... a fundamental right of workers, complementing the
free movement of goods, capital and services within the European single market. It
entails the abolition of any discrimination based on nationality as regards employ-
ment, remuneration and other conditions of work and employment. Moreover,
this article stipulates that an EU worker has the right to accept a job offer made, to
move freely within the country, to stay for the purpose of employment and to stay
on afterwards under certain conditions’ (European Parliament 2019).
4 For details on the concept of postmigrant theatre, see e.g. Ballhaus Naunynstrasse
(2016): ‘The first post-​migrant festival titled Beyond Belonging: Migration took place
in 2006 and was curated by Shermin Langhoff at Hebbel am Ufer. Two years later,
she inaugurated Ballhaus Naunynstraße as a post-​migrant theatre and ever since
represents the successful establishment and institutionalization of new aesthetics,
narratives, and political tools, indicating the advent of artists of colour and the lan-
guage of cultural diversity in the arts within the German theatre scene. It is a space
where narratives, experiences, characters, and cultural memories that have long
been neglected and were invisible are being creatively reprocessed and brought onto
the stage. With the new artistic directors Tunçay Kulaoğlu und Wagner Carvalho
at Ballhaus Naunynstraße and Shermin Langhoff and Jens Hillje at Maxim Gorki
Theater in 2013, the range of the post-​migrant theatre movement has been progres-
sively expanding. At Ballhaus Naunynstraße under the artistic direction of Wagner
Carvalho, the repertoire increasingly focuses also on Black and queer perspectives.
Moreover, the past years have shown that the term “post-​migrant” has become
popular and taken hold both in the German theatre scene and in other artistic and
academic spaces.’
5 Further details available from: https://​sheshepop.de [accessed 11 December 2019].
6 One might add that the productions invited to the 2019 festival were often in them-
selves quite international in terms of the background of the directors, members of
the production team, the staged plays themselves, and the fact that they were inter-
national co-​productions (Engels and Sucher 2019).
7 Die EU-​Kulturpolitik setzt bevorzugt auf transnationale Projekte mit drei und mehr
Partnern und reagiert so auf einen kosmopolitischen Imperativ. (All translations are
my own.)
8 Ohne Koproduktionspartner, die den freien Gruppen und ihren (zumeist
staatlichen) Geldgebern die überregionale Sichtbarkeit ihrer Arbeit garantieren, ist
professionelles Arbeiten in der freien Theaterszene kaum mehr denkbar.
9 [So] beschlossen wir, von der Bühne einen Schritt zurück zu treten, und aus
einer gewissen Distanz auf die Bühnen zu schauen ... [auf] das Theater mitsamt
Zuschauerraum, das ganze Gebäude mit Garderobe, Kasse und seiner Nachbarschaft;
die ganze Stadt, in der es stand. Und siehe da, direkt neben dem Theater im
Mousonturm in Frankfurt wohnten hunderte von alten Menschen, die noch nie
im Mousonturm gewesen waren, weil es ihnen da zu laut gewesen wäre ...Während
im Hamburger Schauspielhaus blutige Rachemorde gespielt wurden, verstarben
die allermeisten Hamburger leise ... Diese Szenen des Abgrundes spielten direkt
40 Notes
hier, auf der anderen Straßenseite. Wir begannen Fragen zu stellen und luden die
Antwortenden auf die Bühne ein, sich selbst zu vertreten.
10 Details for all performances quoted below can be found at Rimini Protokoll (2012)
and (2019).
11 Nachdem die Wirklichkeit des Pissoirs in den White Cube gebracht ist, bringen wir
tausende von kleinen White Cubes zur Wirklichkeit raus und umzingeln sie.
12 Das Theater ist keine Heilanstalt .., sondern eher ein Museum, in dem die Dinge
und Menschen aus einer gewissen hektischen Kausalität herausgehoben erscheinen.
Zwecks Kontemplation.
13 Realismus heißt nicht, dass etwas Wirkliches repräsentiert wird. Realismus heißt,
dass der Vorgang der Repräsentation selbst real wird.
1 See Delanty (2012, pp.41–​3) for a discussion of cosmopolitanism as a conceptual
tool to critically address issues of global concern.
2 See also Taylor 2014.
3 Holledge et al. (2016, pp.112–​ 13) note that only 59 records out of 1,809
documenting performances of A Doll’s House in IbsenStage (https://​ibsenstage.
hf.uio.no/​) are listed as adaptations up until 1980. From 1980 the number of
adaptations has increased to 328 within 1,978 records of productions of the text.
4 Geordie Brookman directed the production (opened 27 June 2017).
5 Eamon Flack adapted and directed Ghosts at Belvoir (opened 16 September 2017).
Anne Louise-​Sarks directed An Enemy of the People (opened 7 October 2018). Sarah
Goodes directed A Doll’s House, Part 2 (opened 11 August 2018). Paige Rattray
directed Hedda: A Reimagining of Ibsen’s Hedda Gabler (opened 10 November 2018).
6 See Adelaide Festival Brochure, 3–​ 19 March 2006, p.8. Available from:
www.adelaidefestival.com.au/​media/​3704/​2006-​booking-​guide-​1.pdf [accessed
21 February 2020].
7 See the AusStage database of live performance (www.ausstage.edu.au) –​Event
Search on Thomas Ostermeier in the ‘Contributor Name’ field –​for further details
of Ostermeier’s production history in Australia.
8 See Helland (2015, pp. 12–​15) for data on and a discussion of Ostermeier’s inter-
national touring history. Stuttgart’s cultural budget, for example, is larger than
the total budget for the Australia Council for the Arts, the Federal Government’s
arts funding and advisory body. See Sölter 2018 for a comparative discussion of
Australia’s cultural budget in relation to Germany.
9 Ibsen House after Henrik Ibsen had its premiere on 9 May 2017.
10 This chapter is based on a performance of the production seen at Belvoir Theatre
and an archival recording of the production at Belvoir filmed on 24 March 2011,
featuring John Gaden (Werle),Toby Schmitz (Gregers Werle), Ewen Leslie (Hjalmar
Ekdal), Anthony Phelan (Old Ekdal), Anita Hegh (Gina Ekdal), and Eloise Mignon
(Hedvig). My thanks to Mark Pritchard, New Work Manager, Malthouse Theatre,
to whom I am indebted for providing a script for a remounted version of the
production.
11 Ostermeier’s production of Cat on a Hot Tin Roof, presented at the Adelaide Festival,
also included a bird in the production in the form of a large raptor in a glass
enclosure positioned above the action.
12 Stone’s directorial signature has been increasingly characterized by glass enclosures
on stage. His adaptation of Federico García Lorca’s Yerma at the Young Vic in 2017,
for example, deployed the traverse stage and positioned the audience on either side
of a glass box.
 Notes 41
13 The time titles referred to in this chapter are from the DVD of the performance
held in the Belvoir archive. In the remounted script the production title commences
on Monday 12.13pm and concludes a year later on Monday 8.59am.
14 See Haskel and Westlake (2018).
1 Indeed, the writing of postmigrants has been so prolific that Leslie Adelson first
identified a ‘Turkish turn’ and Brigid Haines later diagnosed a complementary
‘Eastern turn’ (Adelson, 2000; Haines 2008). In 2019 Saša Stanišić, one of the
writers Haines includes in the Eastern turn, won the German Book Prize, which is
Germany’s most prestigious literary prize.
2 ‘Menschen unterschiedlichen Alters, unterschiedlicher Bildung, sexueller
Orientierung und Herrkunft’; ‘[D]‌ie ganze Stadt, mit allen, die in den letzten
Jahrzehnten dazu gekommen sind, ob durch Flucht, Exil, Einwanderung oder
einfach durch das Aufwachsen in Berlin’. All translations are my own unless other-
wise indicated.
3 The appointment of Dercon was controversial as soon it was announced in 2015
that he would succeed the iconoclastic Frank Castorf, who had been artistic dir-
ector of the radical theatre with a strong left-​wing tradition for 25 years. With
Dercon’s arrival in 2017, the theatre shifted to a curated, festival event-​like model,
inviting more independent productions into the house than it produced, and several
actors who had worked at the theatre for many years were either not hired or left.
Audience numbers under Dercon’s leadership were poor, and in September 2017
the theatre was occupied by protesters objecting to Dercon’s appointment as artistic
director for six days until the police removed them. In April 2018 Dercon resigned,
and in June 2019 it was announced that the director René Pollesch, who had often
worked at the Volksbühne under Castorf, will be the artistic director as of 2021.
4 ‘Man kann tief berühren und tief komplexe Ideen auf die Bühne bringen und
immer noch unterhalten’.
5 The critical and popular success of René Pollesch’s show Glauben an die Möglichkeit
der völligen Erneuerung der Welt at the commercial Friedrichspalast revue theatre in
Berlin in 2019 (and indeed the very fact that a Friedrichspalast show was being
considered worthy of critical discussion) suggests that this position might be
changing.
6 ‘[D]ass Theater im Besonderen und Kultur im Allgemeinen ein elitäres Medium für
wenige, elitär geprägte Leute bleibt’.
7 As Ulrike Garde also notes in Chapter 6, critics argue that the AfD has been
using its parliamentary right to request information on cultural institutions to an
overbearing degree. In the case of the Gorki, there have been information requests
regarding several projects and Langhoff ’s participation in an anti-​racism protest rally,
and also an attempt to inspect her employment contract (Apperly 2019).
8 ‘[D]‌ass die Oper wirklich offen ist für alle’.
9 Das deutsche Theater war, seit es eines gibt, Zukunftsmusik. Deutsches Theater gab
es lange bevor es Deutschland gab. Das deutsche Theater stritt von Anfang an darum,
wie Deutschland aussehen soll. Das Theater lieferte die Narrationen, in denen sich
die Nation bildete. Diese Narrationen waren viel umfassender als Bismarcks Reich
dann wurde. Welches Deutschland wollen wir? Wie soll es in Zukunft aussehen?
Diese Fragen sind doch heute wieder aktuell.
10 I thank John Severn for his extensive, insightful feedback on my discussion of Die
Bremer Stadtmusikanten/​Bremen Mızıkacıları.
11 ‘[D]‌as aktuelle Flüchtlingsstück schlechthin’.
42 Notes
12 Hussein Al Shatheli has recently appeared in a production of the English Theatre
Berlin, Ayam Magid Agha (who was also the artistic director of the ensemble) now
works as a freelance playwright and novelist, and Tahera Hashemi is now part of the
ensemble at the Deutsches Nationaltheater Weimar, but still appears in some Gorki
productions as a guest actor.
13 Though Schneider does not elaborate on how such boundaries are blurred, the use
of multiple languages is central to the way numerous Gorki plays smudge the dis-
tinction between character and actor, or the identity a character is performing and
their felt identity. Thus in Jens Hillje’s Verrücktes Blut, for instance, a teacher drilling
Schiller into her students at gunpoint reads as ethnically German, until she starts
speaking Turkish and takes off her blonde wig.
14 The most recent Herbstsalon in 2019, entitled ‘DE-​HEIMATIZE IT’, emphasized an
intersectional feminist approach to constructions of identity, nation, and belonging.
15 ‘Was bedeutet es und wie fühlt es sich an, nicht in seiner Heimat zu leben, vertrieben
zu sein’?
16 ‘Es ist auf seine Weise viel stärker, als wenn man in einem pädagogisch-​
dokumentarisch-​politischen Stück direkt und das Thema herangeht’.
1 This assumption connects the question of internationalization with my research
on symptoms of crisis in theatre, conducted in the nationwide research network
Crisis and Institutional Transformation in Performing Arts, a group of scholars from
theatre, politics, and economics with Christopher Balme as their spokesperson,
funded by the German Research Society (DFG).
2 The language usage in the questionnaire response has been retained.
3 In this line of thought considering strategic evocations of cultural value in order
to decline artist’s economic renumeration, I am indebted to John Severn, who first
brought the idea up during the joint panel discussion with David Throsby and
myself at the conference Theatre and Internationalization, Macquarie University on
27 April 2019.
4 Das Hamburger Festival der Jungen Regie wird auch jenseits der deutschen
Sprachgrenzen aufmerksam verfolgt. All translations are my own.
5 Die Öffnung des Festivals für internationale Hochschulen hat inzwischen Tradition.
6 In the 1960s and 1970s, the German-​speaking ‘Regietheater’ revalued the role of
the director from a mere translator of dramatic literature ‘from page to stage’ into
an autonomous authority, who was expected to critically challenge classic texts and
to guide the ensemble through them into a collective political stance towards the
present.
7 … bis alle festen Perspektiven anmutig im globalisierten Wahnsinn
zusammenbrachen.
8 Im Vergleich dazu ist nicht nur das Körber Studio, sondern ganz Deutschland eine
Insel der Seligen –​ noch.
9 Ich bevorzuge klar die Inszenierungen, die auch etwas über die eigene
Theatersituation, die Arbeitsbedingungen des Landes erzählen.
10 Eine internationale Jury trägt dafür Sorge, dass das Festival für Publikum wie
Theater künstlerisch nachhaltig bleibt. Sie zeichnet eine der Regisseurinnen oder
Compagnien aus und lädt diese damit ein, eine nächste Arbeit in Braunschweig
zu inszenieren. Das Staatstheater schafft damit Raum für Regiehandschriften,
die in der deutschsprachigen Stadttheaterlandschaft herausragen werden und
eingeschliffene Produktionsweisen des deutschen Ensembletheaters in Bewegung
versetzen können.
 References 43
1 Excerpts of this production are available from: www.caiaf.org.au/​projects/​the-​age-​
im-​in [accessed 8 December 2019].
2 ‘Learning-​disabled’ is the dominant term used to qualify actors and dancers in Europe
with what in Australasia and North America might be referred to as performers with
‘intellectual disability’. The authors have chosen to use the term ‘learning-​disabled’
because we are writing in British English.
3 Such a strategy is not unlike Theater HORA’s latest project Freie Republik HORA,
whereby learning-​ disabled artists are supported as directors of work (Schmidt
2015, 2017).
4 Age-​restricted access to a recording of this production is available from: www.
youtube.com/​watch?v=zDToELzdxP0 [accessed 29 August 2016].
5 A recording of this production is available from: www.youtube.com/​
watch?v=LiYvKGWQnMc [accessed 8 December 2019].
6 ‘Wen kümmert’s wer spricht?’ 1 & 2, directed by Yvonne Schmidt and Marcel Bugiel
in November 2013 and November 2015, reflected hierarchies, authorship, and power
relationships in the process of theatre making with learning-​disabled theatre makers.
7 Further details available from: https://​ disabilityonstage.zhdk.ch/​[accessed 8
December 2019].

References
Awondo, P., Geschiere, P., and Reid, G., 2012. Homophobic Africa? Toward a More
Nuanced View. African Studies Review, 55(3), 145–​68.
Balme, C. and Szymanski-​Düll, B. (eds.), 2017. Theatre, Globalization, and the Cold War.
London: Palgrave Macmillan.
Beck, U. and Grande, E., 2007. Cosmopolitan Europe.Trans. C. Cronin. Cambridge: Polity
Press.
Becker, T., 2014. Inszenierte Moderne: Populäres Theater in Berlin und London, 1880–​1930.
Munich: De Gruyter.
—​—​2015.Theater auf Reisen. Metropolen als Knotenpunkte kultureller Globalisierung
um 1900. In: P. Nolte (ed.). Die Vergnügungskultur der Großstadt. Orte –​Inszenierungen –​
Netzwerke (1880–​1930).Vienna: Böhlau, 15–​30.
Beeching, A. 1988. Nancy Takes the Stick: The Life of Nance, Contessa Filippini.
A Biography of Contessa Filippini, Australian Opera Pioneer, 1896–​1987. Melbourne: C.
Tonti-​Filippini.
Bennett, S., 2020. The Lion King: An International History. In: J. Sternfeld and E.L.Wollman
(eds.). The Routledge Companion to the Contemporary Musical. Abingdon: Routledge,
445–​53.
Bharucha, R., 2014. Hauntings of the Intercultural: Enigmas and Lessons on the Borders
of Failure. In: E. Fischer-​Lichte, T. Jost, and S.I. Jain (eds.). The Politics of Interweaving
Performance Cultures: Beyond Postcolonialism. Abingdon: Routledge, 179–​200.
Cerniglia, K. and Lynch, A., 2011. Embodying Animal, Racial, Theatrical, and
Commercial Power in The Lion King. Congress on Research in Dance Conference
Proceedings, 3–​9.
Cook, E., 1992. Querelle des Bouffons. In: S. Sadie, (ed.). The New Grove Dictionary of
Opera. Vol. 3. London: Macmillan, 1198–​200.
Cuckson, M. and Reitterer, H., 1993. Bodenwieser, Gertrud (1890–​ 1959). In:
Australian Dictionary of Biography. Canberra: Australian National University. Available
44 References
from: http://​adb.anu.edu.au/​biography/​bodenwieser-​gertrud-​9532 [accessed 14
April 2020].
Davis, R., 1997. Anna Bishop: The Adventures of an Intrepid Prima Donna. Sydney:
Currency Press.
Dòmhnallach, T.C., 2016. An Fhìrinn agus a’ Bhreug: Deich Dealbhan-​Cluiche. Ed. M.
NicLeòid. Aberdeen: Aberdeen University Press.
Fraser, C., 1998. Come to Dazzle: Sarah Bernhardt’s Australian Tour. Sydney: Currency Press.
Gilbert, H. and Lo, J., 2007. Performance and Cosmopolitics: Cross-​cultural Transactions in
Australasia. Basingstoke: Palgrave Macmillan.
Gordon, R., 2016. Musicals and Social Change. In: R. Gordon, O. Jubin, and M. Taylor
(eds.). British Musical Theatre Since 1950. London: Bloomsbury Methuen Drama, 7–​82.
Henke, R., 2008. Border-​ Crossing in the Commedia dell’Arte. In: R. Henke and
E. Nicholson (eds.). Transnational Exchange in Early Modern Theater. Aldershot:
Ashgate, 19–​34.
Henke, R. and Nicholson, E. (eds.), 2008. Transnational Exchange in Early Modern Theater.
Aldershot: Ashgate.
—​—​ 2014. Transnational Mobilities in Early Modern Theater. Aldershot: Ashgate.
Imre, Z., 2017.Theatre, Propaganda, and the Cold War: Peter Brook’s Midsummer Night’s
Dream in Eastern Europe (1972). In: C. Balme and B. Szymanski-​Düll (eds.). Theatre,
Globalization, and the Cold War. London: Palgrave Macmillan, 107–​30.
Jones, C., 2019. Rise Up!: Broadway and American Society from ‘Angels in America’ to
‘Hamilton’. London: Methuen.
Karasz, P., 2018. Billy Elliot Musical Branded Gay Propaganda in Hungary: Cancellations
Follow. New York Times, 22 June. Available from: www.nytimes.com/​2018/​06/​22/​
theater/​hungary-​billy-​elliot.html [accessed 12 April 2020].
Katritzky, M.A., 2008. English Troupes in Early Modern Germany: The Women. In: R.
Henke and E. Nicholson (eds.). Transnational Exchange in Early Modern Theater.
Aldershot: Ashgate, 35–​46.
Katritzky, M.A. and Drábek, P., 2019. Transnational Connections in Early Modern Theatre.
Manchester: Manchester University Press.
Kelly, V., 2010. The Empire Actors: Stars of Australian Costume Drama, 1890s–​1920s.
Strawberry Hills, NSW: Currency Press.
Leonhardt, N., 2018. Theater über Ozeane: Vermittler transatlantischen Austauschs (1890–​
1925). Göttingen: Vandenhoeck & Ruprecht.
Love, H. (ed.), 1984. The Australian Stage: A Documentary History. Sydney: New South
Wales University Press.
Lundskaer-​Nielsen, M., 2016. Cameron Mackintosh: Control, Collaboration, and the
Creative Producer. In: R. Gordon and O. Jubin (eds.). The Oxford Handbook of the
British Musical. New York: Oxford University Press, 537–​59.
Macleod, M., 2010. The Gaelic Plays of Tormod Calum Dòmhnallach. Scottish Gaelic
Studies, 24, 405–​18.
Marshall, A. and Mou, Z., 2018. Ibsen Play is Cancelled in China after Audience
Criticizes Government. New York Times, 13 September.
Meerzon, Y., 2012. Performing Exile, Performing Self: Drama, Theatre, Film. Basingstoke:
Macmillan.
Oost, R.B., 2009. Gilbert and Sullivan: Class and the Savoy Tradition, 1875–​1896. Farnham:
Ashgate.
Platt, L., Becker, T., and Linton, D., 2014. Popular Musical Theatre in London and Berlin
1890 to 1939. Cambridge: Cambridge University Press.
 References 45
Rebellato, D., 2009. Theatre & Globalization. London: Red Globe Press.
Richardson, P., 1984. Theatrical Treatment of Local Realities. In: H. Love (ed.). The
Australian Stage: A Documentary History. Sydney: New South Wales University
Press, 67–​75.
Schweitzer, M., 2009. ‘Darn That Merry Widow Hat’: The On-​and Off-​stage Life of a
Theatrical Commodity, circa 1907–​1908. Theatre Survey, 50(2), 189–​221.
The Scotsman, 1829. Epilogue to the New Piece of The Bushrangers. The Scotsman, 12
September.
Scott, D.B., 2019. German Opera on Broadway and in the West End, 1900–​1940. Cambridge:
Cambridge University Press.
Senelick, L., 2017. Jacques Offenbach and the Making of Modern Culture. Cambridge:
Cambridge University Press.
Sölter A.-​A., 2018. Strategically Shaping International Cultural Relations in a Changing
Competitive Environment: Reflections on Recent German-​Australian Encounters.
In: B. Nickl, I. Herrschner and E. Goździak (eds.). German-​Australian Encounters and
Cultural Transfers. Singapore: Springer, 3–​28.
Southey, R.J., 1993. Algeranoff, Harcourt (1903–​ 1967). In: Australian Dictionary of
Biography. Canberra: Australian National University. Available from: http://​adb.anu.
edu.au/​biography/​algeranoff-​harcourt-​9328 [accessed 14 April 2020].
Sternfeld, J., 2006. The Megamusical. Bloomington: Indiana University Press.
—​—​2017. Today Broadway, Tomorrow the World: The ‘American’ Musical and
Globalization. In: E.L. Wollman (ed.). A Critical Companion to the American Stage
Musical. London: Bloomsbury, 225–​37.
Taymor, J., 1998. The Lion King: Pride Rock on Broadway. With A. Greene. New York:
Disney.
Vertovec, S., 2009. Transnationalism. London: Routledge.
Waters, J., 1996. Grandi, Margherita (Maggie) (1892–​1972). In: Australian Dictionary of
Biography. Canberra: Australian National University. Available from http://​adb.anu.
edu.au/​biography/​grandi-​margherita-​maggie-​10341 [accessed 14 April 2020].
Wentzel, A.K., 1969. Carandini, Marie (1826–​1894). In: Australian Dictionary of Biography.
Canberra: Australian National University. Available from: http://​adb.anu.edu.au/​
biography/​carandini-​marie-​3162/​text4729 [accessed 14 April 2020].
Wickstrom, M., 1999. Commodities, Mimesis, and The Lion King: Retail Theatre for the
1990s. Theatre Journal, 51(3), 285–​98.
—​—​ 2006. Performing Consumers: Global Capital and its Theatrical Seductions. Abingdon:
Routledge.
Wilson, A., 2007. The Puccini Problem: Opera, Nationalism, and Modernity. Cambridge:
Cambridge University Press.
Zhengting, W. 2012. The Gangzhou Yueju Quyishe (Gangzhou Society Cantonese
Opera Group) in Melbourne, Australia. In: N. Ng (ed.). Encounters: Musical Meetings
Between China and Australia. Toowong: Australian Academic Press, 3–​19.
Ábrahám, P., n.d. Viktoria und ihr Husar. Vocal Score. Wiesbaden: Musik und Bühne
Verlag.
Becker, T., 2014. Inszenierte Moderne: Populäres Theater in Berlin und London, 1880–​1930.
Munich: De Gruyter.
Belina, A. and Scott, D.B. (eds.), 2019. The Cambridge Companion to Operetta. Cambridge:
Cambridge University Press.
Berrar, T. (director), 2018. Wie antisemitisch ist Deutschland? 3sat, 12 September.
46 References
Brandl-​Risi, B., Risi, C., and Komische Oper Berlin (eds.), 2015. Kunst der Oberfläche:
Operette zwischen Bravour und Banalität. Berlin: Henschel.
Buol, P.v., 2019. The Flower of Hawaii: Chicago’s Folks Operetta Revives a Nearly
Forgotten Work for a New Generation. Hana Hou! December 2019/​January 2020.
Available from: https://​hanahou.com/​22.6/​the-​flower-​of-​hawaii [accessed 25 April
2020].
Clarke, K. (ed.), 2007. Glitter and Be Gay: Die authentische Operette und ihre schwulen
Verehrer. Hamburg: Männerschwarm.
Clarke, K., 2018. Revisiting Honolulu: Die Blume von Hawaii with Students from the
Hochschule für Musik in Osnabrück. Operetta Research Center. Available from:
http://​operetta-​research-​center.org/​revisiting-​honolulu-​die-​blume-​von-​hawaii-​
students-​hochschule-​fur-​musik-​osnabruck/​ [accessed 25 April 2020].
Clarke, K. and Peter, H. (eds.), 2007. ‘Im weissen Rössl’: Auf den Spuren eines Welterfolgs.
St Wolfgang: Verlag Weisses Rössl.
Cullmann, H. and Heinemann, M. (eds.), 2019. ‘… was verloren ging’: Operettenkultur nach
1933. Beiträge einer Tagung der Staatsoperette Dresden. Dresden: Thelem.
Dunne, M., 2004. American Film Musical Themes and Forms. Jefferson, NC: McFarland
& Company.
Frey, S., 2019. Going Global: The International Spread of Viennese Silver Age
Operetta. In: A. Belina and D.B. Scott (eds.). The Cambridge Companion to Operetta.
Cambridge: Cambridge University Press, 89–​102.
Grosch, N. and Stahrenberg, C. (eds.), 2016. ‘Im weissen Rössl’: Kulturgeschichtliche
Perspektiven. Münster: Waxmann.
Grünberg, I., 1984. ‘Wer sich die Welt mit einem Donnerschlag erobern will …’. Zur
Situation und Funktion der deutschsprachigen Operette in den Jahren 1933–​1945.
In: H.-​W. Heister and H.-​G. Klein (eds.). Musik und Musikpolitik im faschistischen
Deutschland. Frankfurt am Main: Fischer, 227–​42.
Grünwald, A. and Löhner-​Benda, F., n.d.a. Die Blume von Hawaii. Libretto. Berlin: Drei
Masken.
—​—​ n.d.b. Viktoria und ihr Husar. Libretto. Berlin: Drei Masken.
Hughes, G., 1962. Composers of Operetta. London: Macmillan.
Kauffmann, M., 2014. Operetta and Propaganda in the Third Reich: Cultural Politics
and the Metropol-​Theater. In: L. Platt,T. Becker, and D. Linton (eds.). Popular Musical
Theatre in London and Berlin 1890 to 1939. Cambridge: Cambridge University Press,
258–​73.
—​—​ 2017. Operette im ‘dritten Reich’: Musikalisches Unterhaltungstheater zwischen 1933
und 1945. Neumünster: von Bockel.
—​—​2019. Operetta During the Nazi Regime. In: A. Belina and D.B. Scott (eds.). The
Cambridge Companion to Operetta. Cambridge: Cambridge University Press, 261–​71.
Klotz, V., 2014. Es lebe: Die Operette. Anläufe, sie neuerlich zu erwecken. Würzburg:
Königshausen & Neumann.
Lenz, U., 2015. ‘America forever!’: Amerika-​Boom und Jazz-​Rausch im Deutschland
der 1920er-​Jahre’. In: B. Brandl-​Risi, C. Risi, and Komische Oper Berlin. Kunst der
Oberfläche: Operette zwischen Bravour und Banalität. Berlin: Henschel, 58–​69.
Lewerenz, S., 2014. The Tropical Express in Nazi Germany. In: L. Platt, T. Becker, and
D. Linton. Popular Musical Theatre in London and Berlin 1890 to 1939. Cambridge:
Cambridge University Press, 243–​7.
Loderer, K.J., 2018. Skandal im Filmpalast Hawaii. Opernloderer. Available at: https://​
opernloderer.blogspot.com/​2018/​10/​operettenkritik-​paul-​abrahams-​die-​blume.
html [accessed 25 April 2020].
 References 47
McMillin, S., 2006. The Musical as Drama. Princeton, NJ: Princeton University Press.
Papenburg, J.G., 2015. Synkopierte Moderne: Populäre ‘afroamerikanische’ Musikformen
in Revue und Operette, Berlin/​Wien 1900–​1925. In: B. Brandl-​Risi, C. Risi, and
Komische Oper Berlin. Kunst der Oberfläche: Operette zwischen Bravour und Banalität.
Berlin: Henschel, 70–​87.
Platt, L., Becker, T., and Linton D. (eds.), 2014. Popular Musical Theatre in London and
Berlin 1890 to 1939. Cambridge: Cambridge University Press.
Reich, H.The Cultural Challenges of Staging a 1931 Jazz Operetta in 2019. ChicagoTribune,
27 June. Available from: www.chicagotribune.com/​entertainment/​music/​howard-​
reich/​ct-​ott-​jazz-​operetta-​reich-​0628-​20190627-​p2ay6kiga5gubdlwpyq2j4lvlu-​
story.html [accessed 25 April 2020].
Schaller, W. (ed.), 2007. Operette unterm Hakenkreuz: Zwischen hoffähiger Kunst und
‘Entartung’. Berlin: Metropol Verlag.
Scott, D.B., 2019. German Operetta on Broadway and in the West End, 1900–​ 1940.
Cambridge: Cambridge University Press.
Tadday, U. (ed.), 2006. ‘Im weissen Rössl’: Zwischen Kunst und Kommerz. Musik-​Konzepte
133/​34. Munich: edition text + kritik.
Traubner, R., [1982] 2003. Operetta: A Theatrical History. Revised ed. Abingdon:
Routledge.
Waller, K., 2017. Paul Abraham. Der tragische König der Operette: Eine Biographie. 2nd ed.
Norderstedt: BoD Books on Demand.
Balme, C., 2015. The Bandmann Circuit: Theatrical Networks in the First Age of
Globalization. Theatre Research International, 40(1), 19–​36.
—​—​—​2016. Maurice E. Bandmann and the Beginnings of a Global Theatre Trade.
Journal of Global Theatre History, 1(1), 34–​45.
Bench, H. and Elswit, K., 2016. Mapping Movement on the Move: Dance Touring and
Digital Methods, Theatre Journal, 68(4), 575–596.
Bollen, J., 2013. Here from There –​Travel, Television and Touring Revues:
Internationalism as Entertainment in the 1950s and 1960s. Popular Entertainment
Studies, 4(1), 64–​81.
—​—​—​2016. Data Models for Theatre Research: People, Places, and Performance.
Theatre Journal, 68(4), 615–​32.
—​—​ —​, 2018. As Modern as Tomorrow: Australian Entrepreneurs and Japanese
Entertainment, 1957–​1968. Theatre Research International, 43(2), 147–​64.
Bollen, J. and Holledge, J., 2011. Hidden Dramas: Cartographic Revelations in the
World of Theatre Studies. Cartographic Journal, 48(4), 226–​36.
Fukutomi, T. (福富太郎), 1994. Showa Cabaret History (昭和キャバレー秘史) (Tokyo:
Kawade Shobō Shinsha (河出書房新社)).
Jones, A.F., 2001. Yellow Music: Media Culture and Colonial Modernity in the Chinese Jazz
Age. Durham, NC: Duke University Press.
Kelly,V., 2015. David N. Martin and the Post-​War ‘Acts and Actors’ of Australian Variety.
Australasian Drama Studies, 67, 131–​54.
—​—​—​2016. Australasia: Mapping a Theatrical ‘Region’ in Peace and War. Journal of
Global Theatre History, 1(1), 62–​77.
Latour, B., 2002. Morality and Technology: The Ends and Means. Theory, Culture and
Society, 19(5–​6), 247–​60.
Lee, Leo Ou-​fan. 1999. Shanghai Modern: The Flowering of a New Urban Culture in China,
1930–​1945. Cambridge, MA: Harvard University Press.
Lefebvre, H., 1992. The Production of Space, trans. D. Nicholson-​ Smith. Oxford:
Wiley-​Blackwell.
48 References
Leonhardt, N., 2015. ‘From the Land of the White Elephant through the Gay Cities
of Europe and America’: Re-​routing the World Tour of the Boosra Mahin Siamese
Theatre Troupe (1900). Theatre Research International, 40(2), 140–​55.
Schweitzer, M., 2015. Transatlantic Broadway: The Infrastructural Politics of Global
Performance. Basingstoke: Palgrave Macmillan.
Van Straten, F., 2003. Tivoli. Melbourne: Lothian.
Wilkie, F., 2015. Performance,Transport and Mobility: Making Passage. Basingstoke: Palgrave
Macmillan.
yamomo, m., 2018. Theatre and Music in Manila and the Asia Pacific, 1869–​1946: Sounding
Modernities. Basingstoke: Palgrave Macmillan.
Yoshimi, S., 2003. ‘America’ as Desire and Violence: Americanization in Postwar Japan
and Asia during the Cold War. Inter-​Asia Cultural Studies, 4(3), 433–​450.
Alexeyeff, K., 2009. Dancing from the Heart: Movement, Gender, and Sociality in the Cook
Islands. Honolulu: University of Hawaii Press.
Attwood, B. and Markus, A., 2007. The 1967 Referendum: Race, Power and the Australian
Constitution. Canberra: Aboriginal Studies Press.
Australian Women’s Weekly, 1970. Ballet of the South Pacific. Australian Women’s
Weekly, 1 April. Available from: http://​nla.gov.au/​nla.news-​article47814074
[accessed 23 December 2019].
Barnes, C. and Jackson, S., 2008. ‘A Significant Mirror of Progress’: Modernist Design
and Australian Participation at Expo ’67 and Expo ’70. In: K. Darian-​Smith, R.
Gillespie, and E. Willis (eds.). Seize the Day: Exhibitions, Australia and the World.
Melbourne: Monash University ePress, 20.1–​20.19.
Bharucha, R. 1993. Theatre and the World: Performance and the Politics of Culture.
London: Routledge.
Canberra Times, 1966. Aborigine for Montreal Plan. Canberra Times, 9 July. Available
from: http://​nla.gov.au/​nla.news-​article107881079 [accessed 23 December 2019].
CanberraTimes, 1967a. NT Aborigine for LondonTV. CanberraTimes, 29 March.Available
from: http://​nla.gov.au/​nla.news-​article107034135 [accessed 23 December 2019].
Canberra Times, 1967b. Spears Fly at TV Viewers. Canberra Times, 3 April. Available
from: http://​nla.gov.au/​nla.news-​article131647361 [accessed 23 December 2019].
Carell,V., 1960. Naked We Are Born. Sydney: Ure Smith.
Casey, M., 2004. Creating Frames: Contemporary Indigenous Theatre 1967–​1990. St Lucia:
University of Queensland Press.
Cochrane, S., 1995. Becoming Art: Some Relationships Between Pacific Art and Western
Culture. Thesis (PhD). University of Wollongong.
Crotty, J., 2015. Onshore, Offshore, Unsure: Expo 70 and Peter Sculthorpe’s Journey
with Music for Japan. Musicology Australia, 37(2), 251–​68.
Daley, P., 2019. On Cook. Meanjin (Summer), 78.
Durack, M., 1971. The Aboriginal Theatre Foundation Gets to Work: No Longer Just a
Dream. Identity, October, 17–​18.
Dvoretsky, H., 1967. Australia on Show at Expo 67. Australian Women’s Weekly,
24 May. Available from: http://​nla.gov.au/​nla.news-​article47591135 [accessed 23
December 2019].
Feld, S., 2000. A Sweet Lullaby for World Music. Public Culture, 12, 145–​71.
Gapps, S., 2002. Performing the Past: A Cultural History of Historical Reenactments. Thesis
(PhD). University of Technology Sydney.
Haebich, A., 2007. Spinning the Dream: Assimilation in Australia 1950–​1970. North
Fremantle: Fremantle Press.
 References 49
Harris, A., 2020a. Representing Australia to the Commonwealth in 1965: Aborigiana
and Indigenous Performance. Twentieth-​Century Music, 17(1), 3–22.
—​—​—​ 2020b. Representing Australian Aboriginal Music and Dance 1930–​70. New York:
Bloomsbury Publishing, DOI: 10.1017/​S1478572219000331.
Kleinert, S., 1999. An Aboriginal Moomba: Remaking History. Continuum, 13,
345–​357.
Kusko, J., 1970. Ballet in Open-​Air Theatre. AustralianWomen’sWeekly, 11 March.Available
from: http://​nla.gov.au/​nla.news-​article52621687 [accessed 23 December 2019].
Manderson, L., 1970. Land Rights Vigil. Canberra Times, 25 April. Available from: http://​
nla.gov.au/​nla.news-​article107921778 [accessed 23 December 2019].
Marett, A., 2005. Songs, Dreamings, and Ghosts: The Wangga of North Australia. Middletown,
CT: Wesleyan University Press.
McGrath, A., 2017. On the Sacred Clay of Botany Bay: Landings, National
Memorialization, and Multiple Sovereignties. New Diversities, 19, 85–​102.
McGregor, R., 2011. Indifferent Inclusion: Aboriginal People and the Australian Nation.
Canberra: Aboriginal Studies Press.
Phipps, P., 2016. Performing Indigenous Sovereignties across the Pacific. In: K. Alexeyeff
and J. Taylor (eds.). Touring Pacific Cultures. Canberra: ANU Press, 245–​66.
Rowse, T., 2017. Indigenous and Other Australians Since 1901. Sydney: UNSW Press.
Slater, L., 2018. Anxieties of Belonging in Settler Colonialism: Australia, Race and Place. Boca
Raton, FL: Routledge.
Spencer, B. and Gillen, F.J., 1899. The Native Tribes of Central Australia. London: Macmillan.
Treloyn, S., 2014. Cross and Square: Variegation in the Transmission of Songs and
Musical Styles Between the Kimberley and Daly Regions of Northern Australia. In:
A. Harris (ed.). Circulating Cultures: Exchanges of Australian Indigenous Music, Dance and
Media. Canberra: ANU Press, 203–​38.
Williams, G., 2007. Gary Williams Speaking about the 1967 Referendum. Al Jazeera.
27 May. Available from: www.youtube.com/​watch?v=V-​vX5kNpyLU [accessed
23 December 2019].
Albright, D., 2006. Golden Calves: The Role of Dance in Opera. Opera Quarterly,
22(2), 22–​37.
—​—​—​ 2009. Music Speaks: On the Language of Opera, Dance and Song. New York:
University of Rochester Press.
Blackwood, S., 2019. Shifting the Opera Gaze. Limelight Magazine, 30 May. Available
from: www.limelightmagazine.com.au/​features/​limelight-​in-​depth-​shifting-​the-​
opera-gaze/​[accessed 30 May 2019].
Bogart, A. and Landau, T., 2005. The Viewpoints Book: A Practical Guide to Viewpoints and
Composition. New York: Theatre Communications Group, 184–​5.
Bourdieu, P., 1998. Acts of Resistance: Against the Tyranny of the Market. Trans. R. Nice.
New York: New Press.
—​—​—​ 2003. Firing Back: Against the Tyranny of the Market 2. Trans. L. Wacquant. New
York: New Press.
Carlton-​Willis, R., 2014. An emotionally powerful Orfeo in Amsterdam. Bachtrack,
5 September. Available from: https://​bachtrack.com/​review-​orfeo-​waltz-​dutch-​
amsterdam-​september-​2014 [accessed 7 September 2014].
Everist, M., 2010. Grand Opéra-​ Petit Opéra: Parisian Opera and Ballet from the
Restoration to the Second Empire. Nineteenth Century Music, 33(3), 195–​231.
Gilliam, D. and Blackwood, S., 2018. Interview, 28 February 2018. 90.5 WUOL Classical
Louisville. Louisville KY: Louisville Public Media, American National Public
Radio.
50 References
Jordan, S., 2011. Mark Morris Marks Purcell: Dido and Aeneas as Danced Opera. Dance
Research, 29(2), 167–​213.
Kooiman, J., 2014. Sasha Waltz choreografeert intense Orfeo. Place de l’Opera. Available
from: www.operamagazine.nl/​recensies/​o perarecensie/​2 9286/​sasha-​waltz-​
choreografeert-​intense-​orfeo/​ [accessed 7 September 2014].
L’Engle, M., 1962. A Wrinkle in Time. New York: Bantham Doubleday Dell.
Waltz, S., 2014a. Productions. Orfeo Available from: www.sashawaltz.de/​en/​productions/​
[accessed 23 April 2019].
—​—​—​2014b. Sasha Waltz & Guests. Public conversation panel, Sasha Waltz and Nadia
Cusimano, Goethe-​Institut Australia, Sydney, 19 January 2014.Audio recording in two
parts available from: https://​soundcloud.com/​goetheaustralia/​sashawaltz-​talk2014-​
1 (part one);https://​soundcloud.com/​goetheaustralia/​sashawaltz-​talk2014-​2 (part
two) [accessed 23 April 2019].
—​ —​—​2018. Sasha Waltz & Guests. Available from: www.sashawaltz.de [accessed
23 April 2019].
Apperly, E., 2019. The Far Right Is Taking On Cultural Institutions. The Atlantic,
28 October. Available from: www.theatlantic.com/​international/​archive/​2019/​10/​
germany-​far-​r ight-​culture-​war/​598978/​ [accessed 1 November 2019].
Australia Council for the Arts, 2019. Australia Council’s Major Performing Arts
(MPA) Framework. Sydney: Australia Council for the Arts. Available from: www.
australiacouncil.gov.au/ ​ p rograms- ​ a nd- ​ r esources/ ​ m ajor- ​ p erfor ming- ​ a rts-​
framework/​[accessed 21 September 2019].
Baker, D., 2015. Identity and Relations Questioned by Complexity of Belonging. Taipei
Times, 19 November. Available from: www.taipeitimes.com/​News/​feat/​archives/​
2015/​11/​19/​2003632800 [accessed 24 October 2016].
Beck, U. and Grande, E., 2007. Cosmopolitan Europe. Trans. C. Cronin. Cambridge:
Polity Press.
Birgfeld, J. and Garde, U., 2018. Falk Richter and Anouk van Dijk’s Complexity of
Belonging: Exploring Internationalisation in Contemporary Theatre. German Life and
Letters, 71(3), 353–​73.
Boenisch, P.M., 2014. What Happened to Our Nation of Culture? Staging the Theatre
of the Other Germany. In: N. Holdsworth (ed.). Theatre and National Identity: Re-​
Imagining Conceptions of Nation. New York: Routledge, 145–​60.
Carlson, M., 2006. Speaking in Tongues. Languages at Play in the Theatre. Ann Arbor:
University of Michigan Press.
Charms, D., 2011. Jelisaweta Bam. German trans. Alexander Nitzberg. In: V. Glozer and A.
Nitzberg (eds.). Daniil Charms: Werke, vol. 3. Berlin: Verlag Galiani, 9–​62.
Confederation of Australian International Arts Festivals, 2019. Major Festivals Initiative
(MFI). Sydney: Confederation of Australian International Arts Festivals. Available
from: www.caiaf.org.au/​about/​major-​festivals-​initiative-​mfi [accessed 2 October
2019].
Conter, C., 2017. Dramatik/​Theater. In: T. Dembeck and R. Parr (eds.). Literatur und
Mehrsprachigkeit: Ein Handbuch. Tübingen: Narr, 277–​300.
Cornish, M., 2019. Performing Unification: History and Nation in German Theater after
1989. Ann Arbor: University of Michigan Press.
Cox, F. and Palethorpe, S., 2010. Australian Voices. Sydney: Macquarie University.
Available from: www.mq.edu.au/​research/​research-​centres-​g roups-​and-​facilities/​
healthy-​ p eople/​ c entres/​ c entre-​ f or-​ l anguage-​ s ciences-​ c las/​ a ustralian-​ voices
[accessed 24 October 2019].
 References 51
Creative Victoria, 2019. Funding Announcement: International Engagement Program.
Melbourne: Creative Victoria. Available from: https://​creative.vic.gov.au/​news/​
2018/​funding-​announcement-​international-​engagement-​program [accessed 5
December 2019].
García, O. and Lin, A.M.Y., 2018. English and Multilingualism: A Contested History.
In: P. Seargeant, A. Hewings, and S. Pihlaja (eds.). The Routledge Handbook of English
Language Studies. London: Routledge, 77–​92.
Garde, U. and Mumford, M., 2016. Theatre of Real People: Diverse Encounters at Berlin’s
Hebbel am Ufer and Beyond. London: Bloomsbury.
Glissant, E., 1998. Introduction à une poétique du divers. Paris: Gallimard.
Gramling, D., 2016. The Invention of Monolingualism. New York: Bloomsbury.
Gunew, S., 2017. Post-​Multicultural Writers as Neo-​Cosmopolitan Mediators. Cambridge:
Anthem Press.
Hauthal, J., 2018. Multilingual Expression and Postnational Frames in 100% Brussels and
Isabella’s Room. Modern Drama, 61(3), 271–​300.
Jakovljevic, B., 2009. Daniil Kharms: Writing and the Event. Evanston, IL: Northwestern
University Press.
Karpinski, E.C., 2017. Can Multilingualism Be a Radical Force in Contemporary
Canadian Theatre? Exploring the Option of Non-​Translation. Theatre Research in
Canada, 38(2), 153–​67.
Knowles, R., 2004. Reading the Material Theatre. Cambridge: Cambridge University
Press.
Laera, M., 2018. Performing Heteroglossia: The Translating Theatre Project in London.
Modern Drama, 61(3), 380–​410.
Laudenbach, P. and Goetz, J., 2019. Druck von rechts. Süddeutsche Zeitung, 27 August.
Available from: www.sz.de/​1.4578106 [accessed 24 September 2019].
Le Monde, 2015. Complexity of Belonging –​Théâtre National de Chaillot. Le Monde,
3 June. Available from: www.sdllemonde.fr/​evenement/​complexity-​belonging-​
th%C3%A9%C3%A2tre-​national-​de-​chaillot [accessed 2 September 2019].
Maxim Gorki Theater, 2019. About Us. Available from: https://​ gorki.de/​
en/​
the-​
theatre/​about-​us [accessed 20 September 2019].
Mewes, S., 2014. Acting Abroad: Migrants, and Migrant Theater Take Hold in Berlin.
Handelsblatt. 9 February.Available from: www.handelsblatt.com/​today/​acting-​abroad-​
migrants-​and-​migrant-​theater-​take-​hold-​in-​berlin-​/​23613024.html?ticket=ST-​
10068891-​R065MbE6hHKAbYaqJMeC-​ap6 [accessed 20 September 2019].
Nachtkritik, 2018. Theater –​Mischform mit Zukunft. Nachitkritik, 5 April. Available
from: www.nachtkritik.de/​index.php?option=com_​content&view=article&id=15
211:protestbrief-​unterstuetzt-​lilienthals-​muenchner-​kammerspiele&catid=126&Ite
mid=100089 [accessed 16 September 2019].
Phipps, A., 2013. Unmoored: Language Pain, Porosity, and Poisonwood. Critical
Multilingualism, 1(2), 96–​118.
Rancière, J., 2007. The Emancipated Spectator. ArtForum International, 45(7), 270–​81.
Reinelt, J., 2010. Jan Lauwers: Performance Realities: Memory, History, Death.
In: M.M. Delgado and D. Rebellato (eds.). Contemporary European Theatre Directors.
Abingdon: Routledge, 205–​31.
Richter, F., 2015. Complexity of Belonging. In: Small Town Boy und andere Stücke.
Berlin: Theater der Zeit, 163–​206.
—​—​ 2018. Disconnected. Theater, Tanz, Politik, ed. and afterword by J. Birgfeld. Berlin:
Alexander Verlag.
52 References
—​—​ 2019. I Am Europe. Available from: www.falkrichter.com/​EN/​home/​ [accessed
30 October 2019].
Roche, J., 2013. Identität und Sprache. In: E. Burwitz-​Melzer, F.G. Königs, and C.
Riemer (eds.). Identität und Fremdsprachenlernen: Anmerkungen zu einer komplexen
Beziehung. Tübingen: Narr, 233–​46.
Schaubühne, 2018. Gastspiel: Complexity of Belonging (Chunky Move, Melbourne).
Berlin: Schaubühne. Available from: www.schaubuehne.de/​de/​produktionen/​
gastspiel-​ c omplexity- ​ o f- ​ b elonging- ​ c hunky-​ m ove-​ m elbour ne.html?ID_​
Vorstellung=1200 [accessed 4 December 2019].
Schlusser, D., 2015. Comédie humaine. Complexity of Belonging: theatre programme.
Paris: Théâtre National de Chaillot.
Sharifi, A., 2018. Multilingualism and Postmigrant Theatre in Germany. Modern Drama,
61(3), 328–​51.
Simon-​Davies, J., 2018. Population and Migration Statistics in Australia. Canberra:
Parliament of Australia. Available from: www.aph.gov.au/​About_​Parliament/​
Parliamentary_​Departments/​Parliamentary_​Library/​ p ubs/​ r p/​ r p1819/​ Q uick_​
Guides/​PopulationStatistics [accessed 4 September 2019].
Stokvis, O., n.d. Anouk van Dijk: Happy Down Under. DansMagazine. Available from:
http://​dansmagazine.nl/​interviews/​anouk-​van-​dijk-​happy-​down-​under [accessed 2
January 2017].
Süddeutsche Zeitung, 2017. Bevölkerung –​Berlin: Fast ein Fünftel der Berliner sind
Ausländer. Süddeutsche Zeitung, 3 November. Available from: www.sueddeutsche.de/
news/​leben/​bevoelkerung-​berlin-​fast-​ein-​fuenftel-​der-​berliner-​sind-​auslaender-​dpa.
urn-​newsml-​dpa-​com-​20090101-​171103-​99-​719885 [accessed 7 September 2019].
Weigel, S., 2019. Transnational Foreign Cultural Policy: Beyond National Culture: Prerequisites
and Perspectives for the Intersection of Domestic and Foreign Policy. Stuttgart: ifa.
Zaiontz, K., 2018. Theatre & Festivals. London: Palgrave Macmillan.
Barclay, B., 2017. To Be or Not To Be: The Question Is, Where are the Operatic
Hamlets? The Guardian, 9 June. Available from: www.theguardian.com/​music/​2017/​
jun/​08/​shakespeare-​hamlet-​opera-​brett-​dean-​glyndebourne-​bill-​barclay [accessed
1 March 2020].
Barthes, R., 1977. Image –​ Music –​ Text. Trans. S. Heath. New York: Hill and Wang.
Braw, E., 2014. How Germany Is Saving Classical Opera. Newsweek, 4 July. Available
from: www.newsweek.com/​2014/​07/​11/​how-​germany-​saving-​classical-​opera-​
261561.html [accessed 1 March 2020].
Brito, M.C. de., 1989. Opera in Portugal in the Eighteenth Century. Cambridge: Cambridge
University Press.
Burden, M., 2007. Metastasio on the London Stage, 1728–​1840: A Catalogue. Royal
Musical Association Research Chronicle, 40, 1–​322.
Campbell, M. and Reed, K., 2015. As One. New York: Bill Holab Music.
Deutsche Oper Berlin, 2019. Symposium: New Musical Theatre. Available from: www.
deutscheoperberlin.de/​en_​EN/​calendar/​production/​symposium-​new-​musical-​
theatre.1215920 [accessed 27 March 2020].
Filloux, C. and Neuwirth, O., 2019. Orlando. In: A. Láng and O. Láng (eds.). Orlando
programme booklet.Vienna: Wiener Staatsoper.
Gier, A., 2000. Das Libretto –​Theorie und Geschichte. Frankfurt am Main and Leipzig: Insel
Verlag.
Goldmann, A., 2019. 4 New Operas in 4 Months? Only in Berlin. New York Times,
24 April.
 References 53
Gumbrecht, H., 1986. Musikpragmatik –​Gestrichelte Linie zur Konstitution
eines Objektbereichs. In: A. Gier (ed.). Oper als Text. Heidelberg: Carl Winter
Universitätverlag, 15–​23.
Helbig, M., 2019. Weimar Operndirektor: ‘Die Krise der neuen Oper ist eine Krise
des Librettos’. Thüringer Allgemeine. Available from: www.thueringer-​allgemeine.de/​
kultur/​weimars-​operndirektor-​wegner-​die-​krise-​der-​neuen-​oper-​ist-​eine-​krise- ​
des-​librettos-​id225385711.html [accessed 1 March 2020].
Howard, K., 2019. Kaminsky: As One. Available from: https://​laurakaminsky.com/​wp-​
content/​uploads/​2019/​11/​as-​one-​opera-​news-​10-​19.pdf [accessed 1 March 2020].
Levin, D., 2007. Unsettling Opera: Staging Mozart, Verdi, Wagner and Zemlinsky. Chicago:
University of Chicago Press.
Lorenz, K., 1987. Die Rückseite des Spiegels: Versuch einer Naturgeschichte menschlichen
Erkennens. Munich: dtv.
Lunden, J., 2017. Impressaria wants to Renew Golden Age of Opera. Voice of America,
11 January Available from: www.voanews.com/​episode/​golden-​age-​american-​
opera-​2545786 [accessed 1 March 2020].
Mendoza de Arce, D., 2001. Music in Ibero-​ America: A Historical Survey. Lanham,
MD: Scarecrow Press.
Midgette, A., 2006. In Search of the Next Great American Opera. New York Times,
19 March, section 2, 1.
OPERA America, 2020a. IDEA Opera Residencies.Available from: www.operaamerica.
org/​Files/​OADocs/​GrantPDFs/​IDEA-​Residency-​Guidelines.pdf [accessed
25 July 2020].
OPERA America, 2020b. Our Mission. Available from: www.operaamerica.org/​con-
tent/​about/​index.aspx [accessed 1 March 2020].
Opera Philadelphia, 2020. New Works. Available from: www.operaphila.org/​opera-​lab/​
new-​works/​ [accessed 1 March 2020].
Plotkin, F., 2017. Exchanging Words with Librettist Mark Campbell, 2017. Operavore.
Radio WQXR New York Public Radio, 31 August.
Reed, K., 2015. A Day in the Life of Kimberly Reed, co-​librettist of AS ONE. New York
Times. Available from: www.nytimes.com/​interactive/​2015/​opinion/​transgender-​
today/​stories/​kim-​reed [accessed 1 March 2020].
Salazar, D., 2017. Writing Operatic History –​Librettist Mark Campbell on Creating
Operas About Steve Jobs, Georgia O’Keefe, & Murderers. Opera Wire, 15 July.
Available from: https://​operawire.com/​writing-​operatic-​history-​librettist-​mark-​
campbell-​on-​creating-​operas-​on-​steve-​jobs-​george-​okeefe-​murderers/​ [accessed
1 March 2020].
Swed, M., 2019. How Two Top Directors are Teaching Europe the L.A. School of Opera.
LA Times. 23 August. Available from: www.latimes.com/​entertainment-​arts/​story/​
2019-​08-​22/​peter-​sellars-​idomeneo-​salzburg-​yuval-​sharon-​lohengrin-​bayreuth
[accessed 1 March. 2020].
The Industry, 2019. Sweet Land Workshop. Available from: https://​theindustryla.org/​
sweet-​land-​workshop/​ [accessed 1 March 2020].
The Industry, 2020. Sweet Land. Available from: https://​theindustryla.org/​projects/​
sweet-​land/​ [accessed 1 March 2020].
Zwiebach, M., 2013. David Gockley and the Golden Age of American Opera. San
Francisco Classical Voice. 15 January. Available from: www.sfcv.org/​article/​david-​
gockley-​and-​the-​golden-​age-​of-​american-​opera [accessed 1 March 2020].
54 References
Chapter 8
Augé, M., 2009. Non-​Places: An Introduction to Supermodernity. 2nd ed. Trans. J. Howe.
London: Verso.
Aydemir, F. and Yaghoobifarah, H. (eds.), 2019. Eure Heimat ist unser Albtraum. Berlin:
Ullstein.
Baudrillard, J., 1993. The Order of Simulacra. In: Symbolic Exchange and Death. Trans. H.
Grant. London: Sage, 50–​86.
–​–​–​–​ 1994. The Illusion of the End. Trans. C. Turner. Cambridge: Polity.
Benesch, K., 2016. Space, Place, Narrative: Critical Regionalism and the Idea of Home
in a Global Age. Zeitschrift für Anglistik und Amerikanistik, 64(1), 93–​108.
Bieger, L., 2016. Some Thoughts on the Spatial Forms and Practices of Storytelling.
Zeitschrift für Anglistik und Amerikanistik, 64(1), 11–​26.
Bieger, L. and Maruo-​ Schröder, N., 2016. Space, Place, and Narrative: A Short
Introduction. Zeitschrift für Anglistik und Amerikanistik, 64(1), 3–​9.
Hoffmann, K., 2012. Kein Ort für Kuscheltiere. In: F. Richter. Theater.Texte von und über
Falk Richter 2000–​2012. Ed. F. Kreuder. Marburg: Tectum, 689–​91.
Foisil, N., 2014. Gespräch mit Falk Richter: Europäisches Theater heute. Germanica, 54,
93–​105.
Foucault, M., 1998. Different Spaces. In: J.D. Faubion (ed.). Aesthetics, Method, and
Epistemology: Essential Works of Foucault, 1954–​ 1984. Vol. 2. Trans. R. Hurley.
New York: New Press, 175–​85.
Kreuder, F., 2008. Reflexion der Medien und mediale Selbstreflexion in Falk Richters
‘Electronic City’ (2003). In: S. Poppe and S. Seiler (eds.). Literarische Medienreflexionen.
Künste und Medien im Fokus moderner und postmoderner Literatur. Berlin: Erich Schmidt,
113–​23.
Latour, B., 2019. Der Planet rebelliert. Der Boden unter unseren Füßen schwindet. Die
Zeit, 12, 40–​41.
Massey, D., 2005. For Space. London: Sage.
Monfort, A., 2009. ‘Analyse und Erkenntnis: das kann nur das Theater’: Théâtre rebelle
et mise en perspective de l’actualité chez Falk Richter. In: C. Klein (ed.). Théâtre et
Politique dans l’espace germanophone contemporain. Paris: L’Harmattan, 117–​131.
Nickel, G., 2009. Das Künstlerdrama in der deutschsprachigen Gegenwartsliteratur:
Wolfgang Bauers ‘Change’, Albert Ostermeiers ‘The Making Of. B-​Movie’, Rainald
Goetz’ ‘Jeff Koons’ und Falk Richters ‘Gott ist ein DJ’. In: F. Göbler (ed.). Das
Künstlerdrama als Spiegel ästhetischer und gesellschaftlicher Tendenzen. Tübingen: Narr,
283–​301.
Richter, F., 2003. Electronic City. Trans. M.J. Norst. Frankfurt am Main: Fischer.
–​–​–​–​ 2004. Das System. Materialien –​Gespräche –​Textfassungen zu ‘Unter Eis’. Ed. A.
Dürrschmidt. Berlin: Theater der Zeit.
–​–​–​–​ 2005. Electronic City. In: F. Richter. Unter Eis. Stücke. Frankfurt am Main: Fischer,
315–​47.
–​–​–​–​ 2017. Safe Places. In: F. Richter. Ich bin Europa. FEAR und andere Theaterstücke.
Berlin: Theater der Zeit: 153–​93.
–​–​–​–​ 2018. Disconnected. Theater –​Tanz –​Politik. Saarbrücker Poetikdozentur für Dramatik.
Ed. J. Birgfeld. Berlin: Alexander.
–​–​–​–​ 2019. Falk Richter –​ About. Available from: www.falkrichter.com/​EN/​about/​
[accessed 2 November 2019].
 References 55
Ryan, M.-​L., 2014. Space. In: P. Hühn et al. (eds.). The Living Handbook of Narratology.
Available from: www.lhn.uni-​hamburg.de/​article/​space [accessed 2 November
2019].
Santiáñez, N., 2017. Space, Subjectivity, and Literary Studies in the Age of Globalization.
In: H. Scharm and N. Matta-​Jara (eds.). Postnational Perspectives on Contemporary
Hispanic Literature. Gainesville: University Press of Florida, 29–​45.
Tigges, S., 2012. Im Probenraum des Textes. In: F. Richter. Theater.Texte von und über Falk
Richter 2000–​2012. Ed. F. Kreuder. Marburg: Tectum, 652–​68.
Affenzeller, M., Hilpold, S., and Kušej, M., 2019. Martin Kušej will Burgtheater zu
‘Hort der Opposition’ machen. Im Herbst übernimmt der gebürtige Kärntner
die Direktion. Das Haus soll weiblicher und vielsprachiger werden. Gespräch
mit Margarete Affenzeller und Stephan Hilpold. Der Standard, 12 April. Available
from: www.derstandard.de/​story/​2000101293310/​martin-​kusej-​will-​burgtheater-​
zu-​hort-​der-​opposition-​machen [accessed 10 December 2019].
Ballhaus Naunynstrasse, 2016. 10 Jahre postmigrantisches Theater. Berlin. Available from:
http://​5.9.128.133/​veranstaltung/​10_​jahre_​postmigrantisches_​theater_​30.01.2016
[accessed 10 December 2019].
Barnett, D. and Brünger, S., 2015. Gespräch über 50 Aktenkilometer. Berlin, Hebbel am
Ufer, 19. August 2011. In: J. Birgfeld, U. Garde, and M. Mumford (eds.). Rimini
Protokoll Close Up: Lektüren. Hanover: Wehrhahn Verlag, 116–​27.
Billeter, E., 1968. The Living Theatre. Paradise Now. Ein Bericht in Wort und Bild. Bern:
Rütten+Loening.
Birgfeld, J. and Frank, C., 2018. Milo Raus Die Moskauer Prozesse (2013) oder: Wenn
das Theater das Gerichtstheater ersetzt. Überlegungen zu Formen des politischen
Theaters im 21. Jahrhundert. In: S. Neuhaus and I. Nover (eds.). Das Politische in der
Literatur der Gegenwart. Berlin: de Gruyter, 273–​90.
Bowen, J., Garde, U., Griffith, A., Guglielmo,V., Haug, H., Kaegi, S., Mumford, M., and
Watts, R., 2015. Panel Discussion 100% Melbourne: Contemporary Documentary
Performance that Puts ‘Real Melbournians’ on the Stage: Melbourne, Goethe-​
Institut, 5 May 2012. In: J. Birgfeld, U. Garde, and M. Mumford (eds.). Rimini Protokoll
Close Up: Lektüren, Hanover: Wehrhahn Verlag, 302–​17.
Brauneck, M., 1993. Die Welt als Bühne. Geschichte des europäischen Theaters. Vol. 1.
Weimar: J. B. Metzler.
Dreysse, M. and Malzacher, F. (eds.), 2007. Experten des Alltags. Das Theater von Rimini
Protokoll. Berlin: Alexander Verlag.
Eacho, D., 2018. Serial Nostalgia: Rimini Protokoll’s 100% City and the Numbers We
No Longer Are. Theatre Research International, 43(2), 185–​200.
Emmerich, W., 2000. Kleine Literaturgeschichte der DDR. New ed. Berlin: Aufbau Verlag.
Engels, K., 2019.Vorwort. In: K. Engels and C.B. Sucher (eds.). Radikal jung 2019. Das
Festival für junge Regie. Berlin: Theater der Zeit, 7.
Engels, K. and Sucher, C.B. (eds.), 2019. Radikal jung 2019. Das Festival für junge Regie.
Berlin: Theater der Zeit.
Eurodram, 2019. About. Available from: https://​eurodramenglish.wordpress.com/​
[accessed 15 December 2019].
European Migration Network, 2010. Asylum and Migration Glossary: A Tool for
Better Comparability Produced by the European Migration Network, January 2010.
Vienna: Directorate General for Home Affairs, European Commission. Available
from: https://​op.europa.eu/​en/​publication-​detail/​-​/​publication/​fa4146d0-​3d5e-​
4b99-​8f4d-​05f3a9075262 [accessed 10 December 2019].
56 References
European Parliament, 2019. Fact Sheets of the European Union: Free movement of
workers. Brussels: European Parliament. Available from: www.europarl.europa.eu/​
factsheets/​en/​sheet/​41/​free-​movement-​of-​workers [accessed 25 July 2020].
The Fence, 2019. About the Fence. Available from: www.the-​fence.net/​aboutFence.
aspx [accessed 15 December 2019].
Frimmel, S., 2014. Von Künstlern, Kuratoren, Gotteslästerern und Hooligans. Ein
Überblick über die Russischen Kunstgerichtsprozesse seit der Perestroika. In: M. Rau
(ed.). Die Moskauer Prozesse. Die Zürcher Prozesse. Berlin: Verbrecher Verlag, 13–​27.
Garde, U., 2015. Ein Spiel mit der Stadt. Die spielerische Durchbrechung von Schemata
in 100% Melbourne. In: J. Birgfeld, U. Garde, and M. Mumford (eds.). Rimini Protokoll
Close Up: Lektüren, Hanover: Wehrhahn Verlag, 254–​77.
Garde, U. and Mumford, M., 2016. Theatre of Real People: Diverse Encounters at Berlin’s
Hebbel am Ufer and Beyond. London: Bloomsbury Methuen.
Hadamowsky, F., 1978. Die Josefinische Theaterreform und das Spieljahr 1776/​ 77
des Burgtheaters: Eine Dokumentation. Vienna: Verband der Wissenschaftlichen
Gesellschaften Österreichs.
Hartnoll, P., 2006. The Theatre: A Concise History. 3rd ed. updated E. Brater. London:
Thames & Hudson.
Kümmel, P., 2014.Wir brauchen Zeit! Das europäische Theater soll eineVersuchskammer
für die Regisseure, Schauspieler und Ästhetikern aller Nationen sein, sagt der
niederländische Intendant der Münchner Kammerspiele Johan Simons. Die Zeit,
2 January. Available from: www.zeit.de/​2014/​02/​johan-​simons-​europaeisches-​
theater [accessed 27 July 2020].
Kušej, M. and Leibold, C., 2019. Als Kärntner Slowene bin ich ein rotes Tuch. Der neue
Burgtheater-​Intendant Martin Kušej über den steifen Wind aus Richtung der FPÖ
und sein Gegenprogramm eines Theaters der kulturellen Vielfalt im Gespräch mit
Christoph Leibold. Theater der Zeit, 74(9), 22–​5.
Mumford, M., 2015. 100% City and Popular Factual Television: A New Game Plan for
Managing Proximity to People? In: J. Birgfeld, U. Garde, and M. Mumford (eds.).
Rimini Protokoll Close Up: Lektüren. Hanover: Wehrhahn Verlag, 278–​301.
Quickert, A., 2018. (Co-​ )Producing Cultures. Chancen und Grenzen der
Internationalisierung von Theater. In: N. Bloch and D. Heimböckel (eds.). Theater
International 3. Eine Vortragsreihe. Luxembourg: Hydre, 41–​70.
Rau, M., 2014a. Die Moskauer Prozesse. Berlin: Good Movies.
—​—​—​ 2014b. Die Moskauer Prozesse. Die Zürcher Prozesse. Berlin: Verbrecher Verlag.
—​—​—​ 2017. Das Kongo Tribunal. Berlin: Verbrecher Verlag.
—​—​—​ 2018a. Das Kongo Tribunal. Zurich: Vinca Film.
—​—​—​ 2018b. Globaler Realismus. Goldenes Buch I/​ Global Realism, Golden Book I.
Berlin: Verbrecher Verlag.
—​—​—​ 2019. Das geschichtliche Gefühl. Wege zu einem globalen Realismus. Saarbrücker
Poetikdozentur für Dramatik. Ed. with an essay by J. Birgfeld. Berlin: Alexander Verlag.
Richter, F., 2018. Disconnected.Theater Tanz Politik. Saarbrücker Poetikdozentur für Dramatik.
Ed. with an afterword by J. Birgfeld. Berlin: Alexander Verlag.
Rimini Protokoll, 2012. ABCD. Saarbrücker Poetikdozentur für Dramatik. Ed. with an
afterword by J. Birgfeld. Berlin: Theater der Zeit.
—​—​—​ 2019. Projects. Available from: www.rimini-​protokoll.de/​website/​de/​projects
[accessed 17 December 2019].
Schößler, F., 2013. Drama und Theater nach 1989. Prekär, interkulturell, intermedial. Hanover:
Wehrhahn Verlag.
 References 57
Simhandl, P., 2014. Theatergeschichte in einem Band. New ed. Berlin: Henschel.
Simons, J. and Westphal, S., 2016. ‘Damit möchte ich nichts zu tun haben’. Auf dem
Weg zu einem europäischen Theater. Interview mit Johan Simons, dem designierten
Intendanten des Bochumer Schauspielhauses von Sascha Westphal. Nachtkritik, 17
February. Available from: www.nachtkritik.de/​index.php?option=com_​content&v
iew=article&id=12143:interview-​mit-​johan-​simons-​dem-​designierten-intenanten-​
des- ​ b ochumer-​ s chauspielhauses&catid=53:portraet-​ a -​ p rofil&Itemid=83
[accessed 10 December 2019].
Willett, J., 1978. The Theatre of Erwin Piscator: Half a Century of Politics in the Theatre.
London: Eyre Methuen.
Balme, C., 2014. The Theatrical Public Sphere. Cambridge: Cambridge University Press.
Berardi, F., 2011. After the Future, trans. A. Bove. Edinburgh: AK Press.
Billington, M., 2014. The Wild Duck Review –​Revision Serves up 80 minutes
of Potted Ibsen. The Guardian, 27 October. Available from: www.theguardian.
com/​stage/​2014/​oct/​27/​the-​wild-​duck-​review-​ibsen-​simon-​stone [accessed
6 January 2020].
—​—​—​2017. We’re in Crisis –​So why has Ostermeier stripped Richard III of politics?
The Guardian, 18 February. Available from: www.theguardian.com/​stage/​2017/​
feb/​17/​ostermeier-​r ichard-​iii-​politics-​thomas-​barbican-​lars-​eidinger [accessed 22
March 2020].
Blake, J., 2011. The Wild Duck. Sydney Morning Herald, 18 February. Available from:
www.smh.com.au/​entertainment/​theatre/​the-​wild-​duck-​20110217-​1ay3o.html
[accessed 5 January 2020].
Boenisch, P., 2010. Thomas Ostermeier: Mission Neo(n)realism and a Theatre of Actors
and Authors. In: M. Delgado and D. Rebellato (eds.). Contemporary European Theatre
Directors. London: Routledge, 339–​59.
–​–​–​–​ 2015. Directing Scenes and Senses: The Thinking of ‘Regie’. Manchester: Manchester
University Press.
Boenisch, P. and Ostermeier, T., 2016. The Theatre of Thomas Ostermeier. London:
Routledge.
Bramwell, M., 2008. ‘Things that Go Bump in the Mind’. The Australian, 17
October, 10.
Brecht, B., 1964. Brecht on Theatre: The Development of an Aesthetic.Trans. and ed. J.Willett.
London: Methuen.
Burkhardt, S., 2019. ‘Reproduzieren ist nicht kritisieren’: Ozi Ozar im Gespräch
mit Susanne Burkhardt. Deutschlandfunk Kultur, 18 May. Available from: www.
deutschlandfunkkultur.de/ ​ d er- ​ t heatermacher-​ o zi-​ o zar-​ r eproduzieren-​ i st-​
nicht.2159.de.html?dram:article_​id=449083 [accessed 5 January 2020].
Carlson, M., 2004. ‘Unser Ibsen’: Ibsen on the Contemporary German Stage. Ibsen
Studies, 4(1), 55–​69.
Carrington, V., 2001. Globalisation, Family and Nation State: Reframing ‘Family’ in
New Times. Discourse: Studies in the Cultural Politics of Education, 22(2), 185–​96.
Connor, M., 2010. The Worn-​Out Formula of Bell Shakespeare. Quadrant, 1 July. Available
from: https://​quadrant.org.au/​magazine/​2010/​07-​08/​the-​worn-​out-​formula-​of-
bell-​shakespeare/​ [accessed 21 February 2020].
Conway, E., 2013. Staging Hyperrealism: Tracing the Influence of the Televisual in
Thomas Ostermeier’s Woyzeck. Scene, 1(3), 331–​42.
Craven, P., 2012. Alone Against the Mob. The Spectator. 3 November. Available
from: https://​retro.spectator.co.uk/​2012/​11/​alone-​against-​the-​mob/​ [accessed
22 March 2020].
58 References
D’Cruz, G., 2017. Re-​routing Ibsen: Adaptation as Tenancy/​Occupation in Simon
Stone’s The Wild Duck and Thomas Ostermeier’s An Enemy of the People. In: E.
O’Toole, A. Pelegrí Kristić, and S. Young (eds.). Ethical Exchanges in Translation,
Adaptation and Dramaturgy. Leiden: Brill, 65–​79.
Delanty, G., 2012. The Idea of Critical Cosmopolitanism. In: G. Delanty (ed.). Routledge
Handbook of Cosmopolitanism Studies. Abingdon: Routledge, 38–​46.
Delgado, M. and Rebellato, D., 2010. Introduction. In: M. Delgado and D. Rebellato
(eds.). Contemporary European Theatre Directors. London: Routledge, 1–​28.
Eagleton, T., 2008. Ibsen and the Nightmare of History. Ibsen Studies, 8(2), 4–​12.
Fischer-​Lichte, E., Gronau, B., and Weiler, C. (eds.), 2012. Global Ibsen: Performing
Multiple Modernities. New York: Routledge.
Fisher, M., 2009. Capitalist Realism: Is There No Alternative? Winchester: Zero Books.
Gallasch, K., 2010. In and Out of the Frame. RealTime, 95.Available from: www.realtime.
org.au/​in-​and-​out-​of-​the-​frame/​ [accessed 22 March 2020].
–​–​–​–​–​ 2011. Opinion: The Wild Duck Re-​Make. RealTime, 102. Available from: www.
realtime.org.au/​opinion-​the-​wild-​duck-​re-​make/​ [accessed 5 January 2020].
Garde, U. and Mumford, M., 2016. Theatre of Real People: Diverse Encounters from Berlin’s
Hebbel am Ufer and Beyond. London: Bloomsbury.
Halpern, R., 2017. Eclipse of Action: Tragedy and Political Economy. Chicago, IL: University
of Chicago Press.
Haskel, J. and Westlake, S., 2018. Capitalism without Capital: The Rise of the Intangible
Economy. Princeton, NJ: Princeton University Press.
Helland, F., 2015. Ibsen in Practice: Relational Readings of Performance, Cultural Encounters
and Power. London: Bloomsbury.
Holledge, J., Bollen, J., Helland, F., and Tompkins, J., 2016. A Global Doll’s House: Ibsen
and Distant Visions. London: Palgrave Macmillan.
Krösche, K., 2013. Leben mit dem Kuckuckskind. Nachtkritik, 20 April. Available
from: www.nachtkritik.de/​index.php?option=com_​content&view=article&id=
8157:the-​wild-​duck-​die-​ibsen-​bearbeitung-​des-​australischen-​regisseur-​simon-​
stone-​bei-​den-​wiener-​festwochen&catid=127:wiener-​festwochen [accessed 5
January 2020].
Lehmann, H.-​T., 2006. Postdramatic Theatre. Trans. K. Jürs-​Munby. London: Routledge.
Malthouse Theatre, 2012. The Wild Duck. Theatre Programme. 16 February. Available
from: https://​issuu.com/​malthouse/​docs/​wdprog [accessed 19 January 2020].
Mattheiss, U., 2018. Vom Lachen dem Hyänen. Taz, 1 February. Available from:
https://​taz.de/​Simon-​Stone-​untersucht-​Strindberg/​!5480470/​ [accessed 22
March 2020].
Moretti, F., 2014. The Bourgeois: Between History and Literature. London: Verso.
Mumby, D., 2016. Organizing Beyond Organization: Branding, Discourse, and
Communicative Capitalism. Organization, 23(6), 884–​907.
Ostermeier, T., 2010. Reading and Staging Ibsen. Ibsen Studies, 10(2), 68–​74.
Ostermeier,T. and Boenisch, P., 2014. ‘The More Political We Are, the Better We Sell’: A
Conversation about the Political Potential of Directing Drama and the Nasty Traps
of Today’s Cultural Industry. Performance Paradigm, 10, 17–​27.
Pearson, J., 2018. After Realism? Asking for an Audience’s Empathy.Three Plays at FIND,
6 April. Available from: www.schaubuehne.de/​en/​blog/​find-​18-​after-​realism.html
[accessed 22 March 2020].
Perkovic, J., 2012a. The Wild Duck: The Slapified Ibsen. Guerrilla Semiotics, 10 March.
Available from: https://​guerrillasemiotics.com/​2012/​03/​the-​wild-​duck-​the-​
slapified-ibsen-​reviewessay/​[accessed 22 March 2020].
 References 59
–​–​–​–​–​2012b. Schaubühne: the Enemy of the People. Guerrilla Semiotics, 10 October.
Available from: http://​guerrillasemiotics.com/​2012/​10/​schaubuhne-​the-​enemy-​
of-​the-​people-​not-​quite-​a-​review/​ [accessed 22 March 2020].
Petersen, W. and Meyrick, J., 2017. In a Miserable Year, the Adelaide Festival brought
us Joy. The Conversation, 22 March. Available from: https://​ theconversation.
com/​in-​a-​miserable-​year-​the-​adelaide-​festival-​brought-​us-​joy-​74846 [accessed
22 March. 2020].
Plass, U., 2018. Patronizing the Crisis: Bernd Stegemann’s Dramaturgy of Critical
Realism and Authoritarian Populism. In: M.Wessendorf (ed.). The Brecht Yearbook 43.
Rochester, NY: Camden House, 279–​89.
Rae, P., 2006, Where Is the Cosmopolitan Stage? Contemporary Theatre Review,
16(1), 8–​22.
Rebellato, D., 2009. Theatre & Globalization. Palgrave Macmillan: Basingstoke.
–​–​–​–​–​2017. Of an Apocalyptic Tone Recently Adopted in Theatre: British Drama,
Violence and Writing. Sillages Critiques, 22. Available from: https://​ journals.
openedition.org/​sillagescritiques/​4798 [accessed 5 January 2020].
Ridout, N., 2009. Theatre & Ethics. Basingstoke: Palgrave Macmillan.
Schechner, R., 2010. The Conservative Avant-​ Garde. New Literary History, 41(4),
895–​913.
Stegemann, B., 2009. After Postdramatic Theatre. Theater 39(3), 11–​23.
–​–​–​–​–​ 2015, Lob des Realismus. Berlin: Theater der Zeit.
Sölter,A.-​A., 2018. Strategically Shaping International Cultural Relations in a Changing
Competitive Environment: Reflections on Recent German-​Australian Encounters.
In: B. Nicki, I. Herrschner, and E.M. Goździak (eds.). German-​Australian Encounters
and Cultural Transfers. Singapore: Springer, 3–​28.
Target, S., 2013. The Talented Mr Stone. Melbourne: 360 Degree Films.
Taylor, P., 2014.An Imaginative Reinvention of Ibsen’s Play. The Independent, 27 October.
Available from: www.independent.co.uk/​arts-​entertainment/​theatre-​dance/​
reviews/​the-​wild-​duck-​barbican-​theatre-​review-​an-​imaginative-​reinvention-​of-​
ibsens-​play-​9820619.html [accessed 6 January 2020].
Tompkins, J., 2013. Performing Ghosts in Australia: Ibsen and an Example of Australian
Cultural Translation. Ibsen Studies, 13(1), 2–​27.
Trinca, H., 2011. Nothing Lost in Translation of the Classics for a Modern Theatre
Audience. The Australian, 26 March. Available from: www.theaustralian.com.
au/ ​ n ews/ ​ i nquirer/​ n othing-​l ost-​i n-​t ranslation-​o f- ​ t he-​c lassics-​f or-​a -​m odern-​
theatre-​audience/​news-​story/​7b43344c37f096458ea2d7dc52c3deb3 [accessed
5 January 2020].
Upton, M., 2012. Prompt Pack: The Wild Duck. Malthouse Theatre, 13. Available
from: https://​issuu.com/​malthouse/​docs/​promptpackthewildduck [accessed
5 January 2020].
Varney, D., Eckersall, P., Hudson, C., and Hatley, B., 2013. Australian Adaptations: The
European Turn. In D.Varney, P. Eckersall, C. Hudson, and B. Hatley (eds.). Theatre and
Performance in the Asia-​Pacific. London: Palgrave Macmillan, 143–​57.
Williams, R., 1977. Structures of Feeling. In Marxism and Literature. Oxford: Oxford
University Press, 128–​35.
Adelson, L.A., 2000. Touching Tales of Turks, Germans, and Jews: Cultural Alterity,
Historical Narrative, and Literary Riddles for the 1990s. New German Critique, 80,
93–​124.
Apperly, E., 2019. The Far Right Is Taking on Cultural Institutions. The Atlantic,
28 October.
60 References
Banks, S., 2013. The Crowned Queen of Gorki. ExBerliner: Berlin in English since
2002. Available from: www.exberliner.com/​whats-​on/​stage/​we-​didnt-​want-​to-​
work-​with-​a-​motto/​ [accessed 8 November 2019].
Berliner Herbstsalon, 2017. Eröffnung Monument von Manaf Halbouni. Available
from: www.berliner-​herbstsalon.de/​dritter-​berliner-​herbstsalon/​performances/​
eroeffnung-​monument-​von-​manaf-​halbouni.html [accessed 12 November 2019].
Berliner Zeitung, 2017. Neuer Migrationsreport: So viele Ausländer leben in Berlin.
Berliner Zeitung, 3 November.
Bundeszentrale für politische Bildung, 2019. Bevölkerung mit Migrationshintergrund.
Available from: www.bpb.de/​nachschlagen/​zahlen-​und-​fakten/​soziale-​situation-​in-​
deutschland/​61646/​migrationshintergrund-​i [accessed 4 November 2019].
Butler, J., 2004. Precarious Life: The Powers of Mourning and Violence. New York: Verso.
Casdorff, S.-​A. and Maroldt, L. 2017. Künstlerin dokumentiert das Sterben von 33.293
Geflüchteten. Der Tagesspiegel, 9 November.
Chazan, G., 2018. Germany’s Increasingly Bold Nationalists Spark a New Culture War.
Financial Times. 29 July.
Cornish, M., 2015. Between the Wall and the Future: Report from Berlin. PAJ: A
Journal of Performance and Art, 37, 64–​75.
Donath, K., 2011. Interview mit Shermin Langhoff: Die Herkunft spielt keine Rolle -​
“Postmigrantisches” Theater im Ballhaus Naunynstraße. Bundeszentrale für
politische Bildung. Available from: www.bpb.de/​gesellschaft/​bildung/​kulturelle-​
bildung/​60135/​interview-​mit-​shermin-​langhoff [accessed 8 November 2019].
Dössel, C., 2015. Angekommen. Die Flüchtlingskrise beherrscht die Theaterlandschaft.
Wie viel daran ist Kunst –​und wo beginnt die Sozialarbeit? Süddeutsche Zeitung,
20 October.
Engel, E., 2017. Die Komische Oper ist der Paradiesvogel unter Berlins Musiktheatern.
Saarbrücker Zeitung, 29 November.
Haines, B., 2008. The Eastern Turn in Contemporary German, Swiss and Austrian
Literature. Debatte: Journal of Contemporary Central and Eastern Europe, 16(2), 134–​49.
Halbouni, M., 2017. Kunstinstallation ‘Monument’ 2017. Available from: www.manaf-​
halbouni.com/​work/​monument/​ [accessed 12 November 2019].
Hanssen, F., 2016. Zahl der Theaterbesuche stagniert. Der Tagesspiegel, 10 March.
Hentschel, C., 2019. Affecting Verticality: Decline and Grandeur in Right-​Wing Times.
Distinktion: Journal of Social Theory, 20(1), 42–​57.
Knoller, R., 2019.Vom Krieg auf die Bühne. Forum: Das Wochenmagazin, 11 January.
Komische Oper Berlin, 2017. Anatevka. Theatre Programme.
—​—​ 2019a. Diversity: Vielfalt. Available from: www.komische-​oper-​berlin.de/​wir/​
diversity [accessed 8 November 2019].
—​—​2019b. Musiktheater zum Anfassen: Operndolmuş. Available from: www.
komische-​oper-​berlin.de/​entdecken/​selam_​opera/​operndolmus/​ [accessed 8
November 2019].
Landry, O., 2016. Jewish Joke Telling in Muttersprache Mameloschn: Performing
Queer Intervention on the German Stage. Women & Performance: a Journal of Feminist
Theory, 26(1), 6–​54.
Lawson, V., 2005. Stage Frights: Interview with Barrie Kosky. Sydney Morning Herald,
26 November.
Lewis, L., 2007. Cross-​Racial Casting: Changing the Face of Australian Theatre. Platform
Papers, 13, 1–​66.
 References 61
Mandel, B., 2014. Die Kluft zwischen E und U überwinden: Ein Interview mit
Barrie Kosky -​dem Intendanten der Komischen Oper Berlin über Interkultur,
Entertainment im Theater und die Arbeit seiner Institution. In: B. Mandel and T.
Renz (eds.). Mind the Gap?: Zugangsbarrieren zu kulturellen Angeboten und ein kritischer
Diskurs über Konzeptionen niedrigschwelliger Kulturvermittlung. Hildesheim: Stiftung
Universität Hildesheim, 12–​15.
Marzano, F., 2019. Winterreise by Exil-​Ensemble and Yael Ronen: A German Journey
Towards Inclusion. Comunicazioni Sociali, 1, 86–​95.
Maxim Gorki Theater, 2019a. Gorki X. Available from: https://​gorki.de/​de/​gorki-​x
[accessed 7 September 2019].
—​—​—​ 2019b. Haus. Available from: https://​gorki.de/​index.php/​de/​haus [accessed
7 September 2019].
Oltermann, P., 2017. Dresden’s Bitter Divide over Aleppo-​ inspired Bus Barricade
Sculpture. The Guardian, 8 June.
Peitz, C. and Schaper, R., 2017. Barrie Kosky im Interview: ‘Ich bin durch Zufall
Intendant’. Der Tagesspiegel, 2 December.
Rothberg, M., 2009. Multidirectional Memory: Remembering the Holocaust in the Age of
Decolonization. Stanford, CA: Stanford University Press.
—​—​—​2014. Multidirectional Memory in Migratory Settings: The Case of Post-​
Holocaust Germany. In: C. De Cesari and A. Rigney (eds.). Transnational Memory.
Berlin: De Gruyter, 123–​45.
Rothberg, M. and Yildiz,Y., 2011. Memory Citizenship: Migrant Archives of Holocaust
Remembrance in Contemporary Germany. Parallax, 17(4), 32–​48.
Schaper R., 2016. Interview mit Kulturstaatssekretär Tim Renner: “Wir brauchen
Neuanfänge, keine Kopien”. Der Tagesspiegel. Available from: www.tagesspiegel.de/​
kultur/​interview-​mit-​kulturstaatssekretaer-​tim-​renner-​wir-​brauchen-​neuanfaenge-​
keine-​kopien/​13489766-​all.html [accessed 20 February 2020].
Schmid, R., 2011. Berlin Theater Presents Turkish Subtitles. Deutsche Welle. Available
from: www.dw.com/​en/​berlin-​theater-​presents-​turkish-​subtitles/​a-​14965588-​0
[accessed 8 November 2019].
—​—​—​2018. Bringing Her Turkish Background to German Theater. New York Times,
7 March.
Schneider, L., 2015. Abschied von der Peripherie. Wie die Berliner Bühnen Maxim
Gorki Theater und der Heimathafen Neukölln durch eine neue Ethik des Sehens das
deutschsprachige Theater vorantreiben. Lendemains –​Etudes comparées sur la France,
40(160), 64–​75.
Sharifi, A., 2018. Multilingualism and Postmigrant Theatre in Germany. Modern Drama,
61(3), 328–​51.
Sieg, K., 2016. Refugees in German Documentary Theatre. Critical Stages/​Scènes
critiques –​The IATC Journal/​Revue de l’AICT, 14. Available from: www.critical-​stages.
org/​14/​refugees-​in-​german-​documentary-​theatre/​ [accessed 7 September 2019].
Sosulski, M.J., 2007. Theatre and Nation in Eighteenth-​ Century Germany. Farnham:
Ashgate Press.
Tinius, J., 2016. Authenticity and Otherness: Reflecting Statelessness in German
Postmigrant Theatre. Critical Stages/​Scènes critiques –​The IATC Journal/​Revue de
l’AICT, 14. Available from: www.critical-​stages.org/​14/​authenticity-​and-​otherness-​
reflecting-​statelessness-​in-​german-​postmigrant-​theatre/​ [accessed 5 July 2019].
Weber, C., 1991. German Theatre: Between the Past and the Future. Performing Arts
Journal, 13(1), 43–​59.
62 References
Widman, A., 2019. Shermin Langhoff ‘Das deutsche Theater war, seit es eines gibt,
Zukunftsmusik’. Frankfurter Rundschau, 30 March.
Wilmers, S.E., 2018. Performing Statelessness in Europe. London: Palgrave Macmillan.
Appiah, K.A., 2006. Cosmopolitanism: Ethics in a World of Strangers. London: Allen Lane.
Baumol, W. and Bowen, W., 1966. Performing Arts –​The Economic Dilemma: A Study
of Problems Common to Theater, Opera, Music and Dance. New York: Twentieth
Century Fund.
Beck, U., 2006. Cosmopolitan Vision. Trans C. Cronin. Cambridge: Polity Press.
Behrendt, B., 2012. Erlaubt ist, was bewegt. Die Deutsche Bühne, June, 18–​19.
Berger, A., 2012. Mit Komik gegen absurde Zustände. Braunschweiger Zeitung, 9
November.
Bestenbostel, C. and Schrauth, U., 2014. Körber Studio Junge Regie. Brochure.
Brauneck, M. (ed.), 2016. Das Freie Theater im Europa der Gegenwart: Strukturen –​
Ästhetik –​ Kulturpolitik. Bielefeld: transcript.
Burckhardt, B., 2013. Stehpult und Samtvorhang. Theater heute, June, 67–​68.
—​—​—​2015. Nachwuchs: Das erschöpfte Selbst. Theater heute, August, 66–​67.
DiggerMag, 2012. Juryurteil über Maren E. Bjørseths Inszenierung ‘Terrorisme’ KSJR 2012.
Online video, 9 April. Available from: www.youtube.com/​watch?v=qrA1D7xp6ZQ
[accessed 10 October 2019].
DiMaggio, P., 1992. Cultural Boundaries and Structural Change: The Extension of the
High-​Culture Model to Theatre, Opera, and the Dance, 1900–​1940. In: M. Lamont
(ed.). Cultivating Differences: Symbolic Boundaries and the Making of Inequality. Chicago,
IL: University of Chicago Press, 21–​54.
Dowling, S., 2012. European Arts Cuts: Dutch Dance Loses Out as Netherlands Slashes
Funding. The Guardian, 2 August. Available from: www.theguardian.com/​culture/​
2012/​aug/​02/​european-​arts-​cuts-​dutch-​dance [accessed 20 November 2011].
European Theatre Convention (ETC), 2018. Home. Available from: www.
europeantheatre.eu/​[accessed 20 November 2019].
Fischer-​Lichte, E., 2008. The Transformative Power of Performance: A New Aesthetics. Trans.
S. Jain. London: Routledge.
Fischer-​Lichte, E., Jost,T., and Jain, S.I. (eds.). 2014. The Politics of Interweaving Performance
Cultures: Beyond Postcolonialism. New York: Routledge.
Gilroy, P., 2004. After Empire: Multiculture or Postcolonial Melancholia. London: Routledge.
Goffman, E., 1967. Interaction Ritual. New York: Doubleday.
Graß, M., 2014. Fast Forward: Junges europäisches Theater zu Gast in Braunschweig.
German Daily News, 10 October. Available from: www.mariograss.germandailynews.
com [accessed 10 October 2014].
Hauptfleisch, T., 2007. Festivals as Eventifying Systems. In: W. Sauter, T. Hauptfleisch,
and J. Martin (eds.). Festivalising! Theatrical Events, Politics and Culture.
Amsterdam: Rodopi, 39–​47.
Keil, F., 2010. Die Lust am Risiko: Im Körber Studio Junge Regie zeigen Talente von
morgen, was sie können. Die Welt, 24 March.
Kunst, B., 2015. Artist at Work: Proximity of Art and Capitalism. Winchester: Zero Books.
Lehmann, H.-​T., 2006. Postdramatic Theatre. Trans. K Jürs-​Munby. London: Routledge.
McKenzie, J., 2001. Perform or Else: From Discipline to Performance. New York: Routledge.
Meyer, A.D., Gaba, V., and Colwell, K.A., 2005. Organizing Far from Equilibrium:
Nonlinear Change in Organizational Fields. Organization Science, 16(5), 456–​73.
Meyer, J.W. and Rowan, B., 1977. Institutionalized Organizations: Formal Structure as
Myth and Ceremony. American Journal of Sociology, 83(2), 340–​63.
 References 63
Müller, C., 2008. Körber Studio Junge Regie. Brochure.
Nieuwe Helden, 2019. Nieuwe Helden/​New Heroes: A Professional Creative Company.
Available from: https://​companynewheroes.com/​[accessed 20 November 2019].
Powell, W.W. and DiMaggio, P. (eds.), 1991. The New Institutionalism in Organizational
Analysis. Chicago, IL: University of Chicago Press.
Reckwitz, A., 2017. The Invention of Creativity: Modern Society and the Culture of the New.
Cambridge: Polity.
Rugman, A.M. (ed.), 2010. The Oxford Handbook of International Business. 2nd ed.
Oxford: Oxford University Press.
Sauter, W., 2007. Festivals as Theatrical Events: Building Theories. In: W. Sauter, T.
Hauptfleisch and J. Martin (eds.). Festivalising! Theatrical Events, Politics and Culture.
Amsterdam: Rodopi, 17–​25.
Schmidt, T., 2017, Theater, Krise und Reform: Eine Kritik des deutschen Theatersystems.
Wiesbaden: Springer.
Schoenmakers, H. 2007. ‘Festivals, Theatrical Events and Communicative Interactions’.
In W. Sauter,T. Hauptfleisch, and J. Martin (eds.). Festivalising! Theatrical Events, Politics
and Culture. Amsterdam: Rodopi, 27–​37.
Siegal, N., 2013. Dutch Arts Scene Is Under Siege. New York Times, 29 January.
Available from: www.nytimes.com/​2013/​01/​30/​arts/​30iht-​dutch30.html [accessed
20 November 2019].
Throsby, D., 2001. Economics and Culture. Cambridge: Cambridge University Press.
World Stage Design (WSD), 2017. Home page. Available from: www.wsd2017.com/​
[accessed 20 November 2019].
Albright, A.C., 1997. Choreographing Difference: The Body and Identity in Contemporary
Dance. Middletown, CT: Wesleyan University Press.
–​––​ ​–​–​1998. Strategic Abilities: Negotiating the Disabled Body in Dance. Michigan
Quarterly Review, 37(3), 475–​501.
Ames, M., 2011.Working with Adrian Jones, Dance Artist. Journal of Arts & Communities,
2(1), 41–​54.
–​––​ ​–​–​2012. Performing between Intention and Unconscious Daily Gesture. How
Might Disabled Dancers Offer us a New Aesthetic Sensibility? About Performance,
11, 143–​58.
–​–​–​–​–​ 2015. Dancing Place/​Disability. Theatre Research International, 40(2), 170–​85.
–​–​–​–​–​2016. Scenes and Encounters, Bodies and Abilities: Devising Performance with
Cyrff Ystwyth. In: P. Block, D. Kasnitz, A. Nishida, and N. Pollard, (eds.). Occupying
Disability: Critical Approaches to Community, Justice, and Decolonizing Disability.
Dordrecht: Springer, 97–​114.
Ames, M. and Pearson, M., 2016. Capel: The Lights Are On. A Conversation … Research
in Drama Education: The Journal of Applied Theatre and Performance, 21(4), 492–​505.
Ames, M., Calvert, D., Glørstad, V., Maguire-​Rosier, K., McCaffrey, T., and Schmidt, Y.,
2019. Responding to Per.Art’s Dis_​Sylphide: Six Voices from IFTR’s Performance
and Disability Working Group. Theatre Research International, 44(1), 82–​101.
Benjamin, A., 1995. Unfound Movement. Dance Theatre Journal, 12(1), 44–​7.
–​–​–​–​–​ 2013 [2002]. Making an Entrance: Theory and Practice for Disabled and Non-​Disabled
Dancers. London: Routledge.
Bowditch, R. and Vissicaro, P., 2017. Performing Utopia. London: Seagull Books.
Card, A., 2015. Imported and Homegrown: Dancing Modernists in Oceania. In: A.
Lindgren and S. Ross (eds.). The Modernist World. Abingdon: Routledge, 255–​64.
64 References
Brown C., 2010. Making Space, Speaking Spaces. In: J.R. Giersdorf and Y. Wong (eds.).
The Routledge Dance Studies Reader. 2nd ed. Abingdon: Routledge, 58–​72.
Cheesman, S., 2014. Dance and Disability: Embracing Difference, Tensions and
Complexities. Dance Research Aotearoa, 2(1), 20–​30.
Climenhaga, R., 2008. Pina Bausch. Abingdon: Routledge.
Davies, T., 2008. Mobility: Axis Dancers Push the Boundaries of Access. Text and
Performance Quarterly, 28(1–​2), 43–​63.
Elberfeld, R., 2011. Wie von selbst: Handlungsformen jenseits von Aktiv und Passiv.
In: M. Hinz and J. Roselt (eds.). Chaos und Konzept: Proben und Probieren im Theater.
Berlin: Alexander Verlag, 208–​21.
Foellmer, S., 2017. Bodies’ Borderlands: Right in the Middle –​Dis/​abilities on Stage.
In: N. Nakajima and G. Brandstetter (eds.). The Aging Body in Dance: A Cross-​Cultural
Perspective. Abingdon: Routledge, 90–​104.
Foucault, M., 1995 [1977]. Discipline & Punish: The Birth of the Prison.Trans. A. Sheridan.
New York: Random House.
Garland-​Thomson, R., 1997. Extraordinary Bodies: Figuring Physical Disability in American
Culture and Literature. New York: Columbia University Press.
Goffman, E., 1967. Interaction Ritual: Essays in Face-​to-​Face Behavior. Chicago, IL: Aldine.
Grenz, T. and Eisewicht, P., 2012. Einleitung. In: P. Eisewicht, T. Grenz, and M.
Pfadenhauer (eds.). Techniken der Zugehörigkeit: Karlsruher Studien Technik und Kultur.
Vol. 5. Karlsruhe: KIT Scientific Publishing, 1–​8.
Hadley, B., 2014. Disability, Public Space Performance and Spectatorship: Unconscious
Performers. London: Palgrave Macmillan.
Hardt, M. and Negri, A., 2001. Empire. Cambridge, MA: Harvard University Press.
Kuppers, P., 2003. Disability and Contemporary Performance: Bodies on Edge. Abingdon:
Routledge.
Lehmann, H.-​T., 2006. Postdramatic Theatre. London: Routledge.
Lepecki, A., 2006. Exhausting Dance: Performance and the Politics of Movement. London:
Routledge.
Maguire-​Rosier, K., 2016. Moving ‘Misfits’. Australasian Drama Studies, 69, 29–​55.
Mangan, M., 2013. Staging Ageing: Theatre, Performance and the Narrative of Decline.
Bristol: Intellect.
Marshall, J., 2006. Dancing the Elemental Body: Butoh and Body Weather: Interviews
with Tanaka Min and Yumi Umiumare. Performance Paradigm, 2, 59–​78.
Matos, L., 2008. Writing in the Flesh: Body, Identity, Disability and Difference. In: S.B.
Shapiro (ed.). Dance in a World of Change: Reflections of Globalization and Cultural
Differences. Champaign, IL: Human Kinetics, 71–​91.
Matzke, A., 2010. Die Kunst nicht zu arbeiten: Die Inszenierung künstlerischer Praxis
als Nicht-​Arbeit bei Bertolt Brecht und Heiner Müller. In: J. Etzold and M. Schäfer
(eds.). Nicht-​Arbeit: Politiken, Konzepte, Ästhetiken. Weimar: Verlag der Bauhaus-​
Universität, 156–​71.
McCaffrey, T., 2019. Incapacity and Theatricality: Politics and Aesthetics in Theatre Involving
Actors with Intellectual Disabilities. New York: Routledge.
McRuer, R., 2006. Crip Theory: Cultural Signs of Queerness and Disability. New York:
New York University Press.
Midgelow, V., 2010. Reworking the Ballet. In: A. Carter and J. O’Shea (eds.). The
Routledge Dance Studies Reader. 2nd ed. Abingdon: Routledge, 65–​75.
Mitchell, D.T. and Snyder, S.L., 2015. The Biopolitics of Disability: Neoliberalism,
Ablenationalism, and Peripheral Embodiment. Ann Arbor: University of Michigan Press.
 References 65
Mohamed, K., and Shefer,T., 2015. Gendering Disability and Disabling Gender: Critical
Reflections on Intersections of Gender and Disability. Agenda, 29(2), 2–​13.
Muñoz, J.E., 1999 Disidentifications. Queers of Colour and the Performance of Politics.
Minneapolis, MN: University of Minnesota Press.
Nakajima, N. and Brandstetter, G., 2017. The Aging Body in Dance: A Cross-​Cultural
Perspective. London: Routledge.
Puar, J.K., 2009. Prognosis Time: Towards a Geopolitics of Affect, Debility and Capacity.
Women and Performance: A Journal of Feminist Theory, 19(2), 161–​72.
—​—​ 2017. The Right to Maim: Debility, Capacity, Disability. Durham, NC: Duke
University Press.
Rabinow, P., 1984. The Foucault Reader. New York: Pantheon Books.
Sandahl, C. and Auslander, P. (eds.), 2005. Bodies in Commotion: Disability and Performance.
Ann Arbor: University of Michigan Press.
Schmidt,T., 2013. Acting Disabled: Back to Back Theatre and the Politics of Appearance.
In: K. Jürs-​ Munby, J. Carroll, and S. Giles (eds.). Postdramatic Theatre and the
Political: International Perspectives on Contemporary Performance. London: Bloomsbury
Methuen, 189–​209.
Schmidt, Y., 2015. After Disabled Theater. Authorship and Agency in Freie Republik
HORA. In: S. Umathum and B. Wihstutz (eds.). Disabled Theatre. Zurich: Diaphanes,
227–​41.
–​–​–​–​–​2016. Ordnungen des Inszenierens: Theater als freie Republik. In: A. Fournier,
P. Gilardi, A. Haerter, and B. Hochholdinger-​Reiterer (eds.). Mimos 2016: Theatre
HORA. Swiss Theatre Yearbook. Zurich: Peter Lang, 218–​32.
–​–​–​–​–​2017. Towards a New Directional Turn? Directors with Cognitive Disabilities.
Research in Drama Education: The Journal of Applied Theatre and Performance, 17(2),
446–​59.
–​–​–​–​–​2018. Disability and Postdramatic Theater: Return of Storytelling. Journal of
Literary & Cultural Disability Studies, 12(2), 203–​19.
Siebers, T., 2008. Disability Theory. Ann Arbor: University of Michigan Press.
–​–​–​–​–​ 2010. Disability Aesthetics. Ann Arbor: University of Michigan Press.
Smith, O., 2005. Shifting Apollo’s Frame: Challenging the Body Aesthetic in Theater
Dance. In: P. Auslander and C. Sandahl (eds.). Bodies in Commotion: Disability and
Performance. Ann Arbor: University of Michigan Press, 73–​85.
Sobchack, V., 2006. A Leg to Stand On: Prosthetics, Metaphor, and Materiality. In: M.
Smith and J. Morra (eds.). The Prosthetic Impulse: From a Posthuman Present to a Biocultural
Future. Cambridge, MA: Massachusetts Institute of Technology Press, 17–​41.
Turinsky, M., 2019. Reverberations. Available from: www.michaelturinsky.org/​en/​
reverberations.html [accessed 28 November 2019].
Umathum, S. and Wihstutz, B., 2015. Disabled Theater. Zurich: Diaphanes.
Weiler, C., 2006. Nichts zu inszenieren. In: E. Fischer-​Lichte, B. Gronau, S. Schouten, and
C. Weiler (eds.). Wege der Wahrnehmung: Authentizität, Reflexivität und Aufmerksamkeit
im zeitgenössischen Theater. Berlin: Theater der Zeit, 58–​71.
Whatley, S., 2007. Dance and Disability: The Dancer, the Viewer and the Presumption
of Difference. Research in Dance Education, 8(1), 5–​25.
–​–​–​–​–​2010. The Spectacle of Difference: Dance and Disability on Screen. International
Journal of Screendance, 1(1), 41–​52.
Whatley, S., Waelde, C., Brown, A., and Harmon, S., 2015. Validation and Virtuosity:
Perspectives on Difference and Authorship/​Control in Dance. Choreographic Practices,
6(1), 59–​83.