Ludwig-Maximilians-University Munich Journal of Global Theatre History Theatrescapes Global Media and Translocal Publics (1850-1950) Editors Christopher Balme and Nic Leonhardt Volume 1, Number 2, 2016 Editorial Office Gwendolin Lehnerer Gero Toegl Editorial Board Helen Gilbert (Royal Holloway London) Gordon Winder (Munich), Derek Miller (Harvard), Kati Röttger (Amsterdam), Stanca Scholz-Cionca (Trier/Munich), Marlis Schweitzer (York University, Toronto) Roland Wenzlhuemer (Heidelberg), Published under the Creative Commons License CC-BY 4.0 All rights reserved by the Authors. Journal of Global Theatre History Volume 1, Number 2, 2016 Table of Contents Nic Leonhardt Editorial .............................................................................................................................................III Monize Oliveira Moura Sarah Bernhardt in Brazil (1886 and 1893) ................................................................................................................................................1 Catherine Vance Yeh Experimenting with Dance Drama: Peking Opera Modernity, Kabuki Theater Reform and the Denishawn’s Tour of the Far East .............................................................................................................................................28 Johanna Dupré "Die erste Jockey-Reiterin der Welt, aus Süd-Amerika": Rosita de la Plata, Global Imaginaries and the Media .............................................................................................................................................38 Lisa J. Warrington Herr Daniel Bandmann and Shakespeare vs. the World ..............................................................................................................................................56 Table of contents II Journal of Global Theatre History Volume 1, Number 2, 2016 Editorial Published under the Creative Commons License CC-BY 4.0 All rights reserved by the Authors. The decades between 1850 and 1950 are characterized by the emergence of new technologies and communication media, as well as the development of infrastructure for transnational travel and trade. Theatre benefited from and contributed to this transnational interconnectedness in all its artistic and business dimensions. Not only were new theatres built in almost every corner of the world, but genres, plays and performers travelled globally and led to the emergence of new theatrical public spheres and forms of spectatorship. This special issue of the Journal of Global Theatre History proposes that we could usefully borrow Arjun Appadurai’s well-known notion of -scapes (mediascapes, econoscapes, ideoscapes, etc.) that he uses for describing the dimensions of global flows in contemporary globalization. By adding another scape, namely ‘theatrescapes’, we can describe the dynamics and flows of theatrical expansion in the nineteenth and early twentieth centuries. Indubitably, theatre and its infrastructures interacted intensely and strategically with the new global media of the time: the (illustrated) press, advertisements, photography, cinema, radio. The dislocation of people engendered by migration created new theatre publics that might be termed ‘translocal’ audiences: geographically separated from their homes, immigrants longed for cultural entertainment familiar to them; European spectators in India or China, for instance, remained mentally or imaginatively aligned with their home countries, whereas local publics needed to accustom themselves to the new medium of theatre. At the same time, the increasing interconnectedness and knowledge about the world evoked a major interest in foreign peoples and their forms of cultural entertainment. This second number of GTHJ grew out of a conference of the same title that took place in 2014 funded by the Fritz Thyssen Foundation and collects a selection of papers discussed there. The contributors interrogate various facets of the intersections of global media and translocal publics as a consequence of migration, and discuss their impact on theatre and vice versa between 1850 and 1950. The following questions form the shared agenda of the papers: 1) Interaction between theatre and global media: How did performers, entrepreneurs, and directors employ global media, and by what means did media and modern marketing facilitate the global dissemination of theatrical forms and formats? 2) Translocal publics: What can we learn about the emergence of theatrical public spheres in situations of cross-cultural contact? 3) The press and globalized theatrical reading publics: How did the (international) press and theatre mutually condition one another and impact on their respective audiences? Editorial III 4) Networked stages: What can we say about the transregional and even transnational interconnections and collaborations of theatre entrepreneurs, producers and agents? 5) New urban centres as theatrical contact zones: What role did urban life play in the context of theatrescapes? 6) Theatre-building as a (inter) cultural act: What role did theatre architecture play in the framework of theatre and the early phase of (cultural) globalization? In her paper "Sarah Bernhardt in Brazil (1886-1893)", Monize Oliveira Moura follows the routes and itineraries of the popular French actress in the late nineteenth century. Bernhardt’s theatrical trade routes led from Europe to the Americas and back and fostered the intensification between French and Brazilian theatre culture in particular. Moura highlights Bernhardt’s impact on local audiences and their theatrical taste in Brazil and thus demonstrates how theatre could become global by touring stars. Catherine Vance Yeh links Peking Opera, Kabuki and the famous tour of the Denishawn company in her essay "Experimenting with Dance Drama: Peking Opera Modernity, Kabuki Theater Reform and the Denishawn’s Tour of the Far East". Focusing on the first two decades of the twentieth century, she sheds light on the transformation of Peking opera by focusing on the three main areas of contact, namely Paris, Japan and the U.S. By doing so, on a macro level Yeh advocates a reconsideration of artistic modernity understood as a global rather than as a mere European phenomenon. The circus jockey Rosita de la Plata, born in Buenos Aires, is the protagonist of Johanna Dupré’s paper "‘Die erste Jockey-Reiterin der Welt, aus Süd-Amerika’: Rosita de la Plata, Global Imaginaries and the Media". Based on hitherto under-researched and rich source material Dupré discusses how subtle public relations strategies fostered the international career of circus jockey Rosita de la Plata, and how they contributed to and shaped her public image and artist persona. German Shakespeare actor Daniel Bandmann and his truly international touring activities are showcased and discussed in Lisa J. Warrington’s paper "Herr Daniel Bandmann and Shakespeare vs. the World". In her examination of Bandmann’s acting in the role of Hamlet (as a German performing in English) and his controversies with theatre critics, she foregrounds the challenges of language and translation as an important factor that was part and parcel of theatrical globalization in the late nineteenth century. Nic Leonhardt, Munich, December 2016 NB: Theatrescapes is also the name of a digital research tool that we have developed in the context of the Centre for Global Theatre History. It helps us to map the worldwide emergence of theatrical venues as well as follow the traces and routes of performers in the nineteenth and twentieth century. Check it out and help us increase our knowledge of global theatre. http://www.theatrescapes.gwi.uni-muenchen.de/ Editorial IV Journal of Global Theatre History ISSN: 2509-6990 Issue 1, Number 2, 2016, pp. 1-27 Monize Oliveira Moura Sarah Bernhardt in Brazil (1886-1893) Abstract During the second half of the nineteenth century, Sarah Bernhardt helped to establish theatrical connections between Europe and the Americas as a result of her international travels. Her tours in Brazil intensified the exchanges between this country's theatrical scene and the French theatre, and the presence of this famous actress indicated the inclusion of Rio de Janeiro and São Paulo in the "global" theatrical circuit of great stars that was then being formed. While revisiting this process, this article investigates its symbolic meaning and its impacts on a local level (Brazil): how these tours connected Sarah Bernhardt to foreign audiences (thereby helping to shape a global cultural space), and to what extent foreign audiences’ expectations had an impact on the aesthetic features of these productions. From a broader perspective, in this sense, cultural globalization and translocal audiences are essential to assessing the production of French theatre in the nineteenth century. Author Monize Moura is an actress who graduated from the Federal University of Bahia, Brazil. She holds a Masters’ degree in Performing Arts from the University of Strasbourg, France, and a PhD in History and Performing Arts from the University of Versailles Saint-Quentin-en-Yvelines, France, and the Federal University of the State of Rio de Janeiro, Brazil. In 2015 she defended her thesis, entitled "Sarah Bernhardt vue du Brésil (1886-1905)" under the guidance of professors Jean-Claude Yon (UVSQ) and Angela Reis (UNIRIO), thanks to an agreement of joint supervision and research scholarship provided by the Brazilian government through the Coordination for the Improvement of Higher Level - or Education - Personnel