Pub Date : 2022-04-20DOI: 10.1017/S0266464X22000082
Catherine Love
During coronavirus lockdowns, theatre-makers have been forced to get to grips with the internet as a platform for performance, prompting new conversations about theatre’s relationship with digital media. In this context, Seda Ilter’s new book – mostly written before the pandemic – reads as strikingly prescient. Mediatized Dramaturgy asks how plays have responded to the expansion of digital media since the 1990s. It’s a welcome addition to existing scholarship on theatre and mediatization, which has tended to focus on performance and neglect the play-text. Ilter also makes a valuable move beyond thinking about mediatization in terms of content, arguing thatwemust pay asmuch attention to the mode of representation as to the themes represented. Each of the chapters addresses an individual aspect ofmediatizeddramaturgy, considering elements such as language, characterization, and plot structure. Ilter examines a range of texts, adopting a refreshingly open definition of what constitutes a play. Practitioners whose work is explored include playwrights like Simon Stephens, Martin Crimp, and Caryl Churchill, as well as such genre-defying theatre-makers as Christopher Brett Bailey and John Jesurun. However, the writers discussed are mostly white, suggesting that there is further work to be done exploring how these mediatized forms intersect with Global Majority perspectives. Ilter’s analysis throughout is driven by a political interest in what plays can do in the contemporary world. She not only traces how playwrights have reflected aspects of our mediatized reality, but also assesses the critical efficacy of these efforts, using Hans-Thies Lehmann’s Postdramatic Theatre and Jacques Rancière’s work on dissensus and the distribution of the sensible as key theoretical reference points. Ultimately, Ilter favours ‘no-longerdramatic’ texts, arguing that this mode creates openings for critical rethinking. While the resistance that such plays offer to neoliberal capitalism is perhaps somewhat overstated,Mediatized Dramaturgy remains an engaging discussion of a still relatively nascent subset of contemporary playwriting. The book is at its best in the passages of detailed analysis of specific plays. One of Ilter’s most useful critical interventions is her introduction of the term ‘mediaturgical plays’ to refer to play-texts written through digital media technologies such as Twitter, using the fascinating case study of David Greig’s Yes/No Plays. In some ways, this book arrived just before its time. Several more recent plays – such as Jasmine Lee-Jones’s seven methods of killing kylie jenner and the work of Javaad Alipoor, along with various shows created online during the pandemic – speak to Ilter’s analysis, opening up further avenues to pursue in future. catherine love
在新冠疫情封锁期间，剧院制作人被迫将互联网作为表演平台，这引发了关于剧院与数字媒体关系的新对话。在这种背景下，Seda Ilter的新书——主要写在疫情之前——读起来非常有先见之明。《媒介戏剧》询问自20世纪90年代以来，戏剧如何应对数字媒体的扩张。这是对现有戏剧和中介学的一个可喜补充，后者倾向于专注于表演而忽视戏剧文本。伊尔特也做出了一个有价值的举动，超越了从内容上思考中介化，他认为我们必须像关注所代表的主题一样关注表现方式。每一章都阐述了多媒体叙事的一个单独方面，考虑了语言、人物塑造和情节结构等因素。伊尔特研究了一系列文本，对戏剧的构成进行了令人耳目一新的开放式定义。作品被探索的从业者包括西蒙·斯蒂芬斯、马丁·克里普和卡里尔·丘吉尔等剧作家，以及克里斯托弗·布雷特·贝利和约翰·杰苏伦等挑战流派的戏剧制作人。然而，讨论的作者大多是白人，这表明还有更多的工作要做，探索这些中介形式如何与全球多数人的观点相交。伊尔特的分析贯穿始终，是出于对戏剧在当代世界中能做什么的政治兴趣。她不仅追溯了剧作家如何反映我们被调解的现实的各个方面，还评估了这些努力的批判性效果，将汉斯·蒂斯·莱曼的《后戏剧剧院》和雅克·兰齐埃关于异议和理性的分配的工作作为关键的理论参考点。最终，伊尔特倾向于“无长篇小说”文本，认为这种模式为批判性反思创造了机会。虽然这类戏剧对新自由主义资本主义的抵制可能有些言过其实，但《媒介戏剧》仍然是对当代戏剧创作中一个相对新生的子集的一个引人入胜的讨论。这本书在对具体戏剧进行详细分析的段落中表现得最好。伊尔特最有用的批评干预措施之一是，她引入了“媒介戏剧”一词，指的是通过推特等数字媒体技术编写的戏剧文本，并使用了大卫·格雷格的《是/否戏剧》这一引人入胜的案例研究。从某些方面来说，这本书来得正是时候。最近的几部戏剧——比如Jasmine Lee Jones的《杀死凯莉·詹纳的七种方法》和Javaad Alipoor的作品，以及疫情期间在网上创作的各种节目——都与伊尔特的分析相吻合，为未来的追求开辟了进一步的途径。凯瑟琳爱
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Pub Date : 2022-04-20DOI: 10.1017/S0266464X22000070
S. Wilmer
The relationship between Gilles Deleuze and Samuel Beckett has excited many scholars and continues to be of major interest today. This article explores the Deleuzian concept of multiplicity by considering quantitative and qualitative multiplicities in Beckett’s work. In differentiating between these two types, Deleuze and Félix Guattari indicate that extensive or quantitative multiplicities are essentially numerical and can be counted and represented in space. This form of multiplicity is seen in Beckett’s use of various lists of items such as Molloy counting his sucking stones or Watt considering how to dispose of Mr Knott’s food. Qualitative multiplicities, by contrast, cannot be counted because they differ in kind from one another. They are represented in duration and are here observed in the minorization of language in How It Is, among other examples. S. E. Wilmer is Professor Emeritus of Drama at Trinity College in Dublin. His most recent publications include Performing Statelessness in Europe (Palgrave Macmillan, 2018) and (with co-editor Radek Przedpełski) Deleuze, Guattari, and the Art of Multiplicity (Edinburgh University Press, 2020). He is currently co-editing the Palgrave Handbook of Theatre and Migration.
吉尔·德勒兹和塞缪尔·贝克特之间的关系让许多学者感到兴奋，并在今天继续引起人们的极大兴趣。本文通过考察贝克特作品中数量和质量的多样性来探讨德勒兹的多样性概念。在区分这两种类型时，德勒兹和facimlix Guattari指出，广泛的或定量的多样性本质上是数字的，可以在空间中计算和表示。这种形式的多样性可以从贝克特对各种物品清单的使用中看到，比如莫洛伊数他的吸吮石，瓦特考虑如何处理诺特先生的食物。相比之下，质量上的多样性是无法计算的，因为它们在种类上彼此不同。它们在持续时间上表现出来，在《现状》中，在其他例子中，我们可以看到语言的少数化。S. E. Wilmer是都柏林三一学院戏剧荣誉教授。他最近的出版物包括在欧洲执行无国籍状态(Palgrave Macmillan, 2018)和(与共同编辑Radek Przedpełski)德勒兹，瓜塔里和多样性的艺术(爱丁堡大学出版社，2020)。他目前正在参与编辑《帕尔格雷夫戏剧与移民手册》。
{"title":"Deleuze, Beckett, and the Art of Multiplicity","authors":"S. Wilmer","doi":"10.1017/S0266464X22000070","DOIUrl":"https://doi.org/10.1017/S0266464X22000070","url":null,"abstract":"The relationship between Gilles Deleuze and Samuel Beckett has excited many scholars and continues to be of major interest today. This article explores the Deleuzian concept of multiplicity by considering quantitative and qualitative multiplicities in Beckett’s work. In differentiating between these two types, Deleuze and Félix Guattari indicate that extensive or quantitative multiplicities are essentially numerical and can be counted and represented in space. This form of multiplicity is seen in Beckett’s use of various lists of items such as Molloy counting his sucking stones or Watt considering how to dispose of Mr Knott’s food. Qualitative multiplicities, by contrast, cannot be counted because they differ in kind from one another. They are represented in duration and are here observed in the minorization of language in How It Is, among other examples. S. E. Wilmer is Professor Emeritus of Drama at Trinity College in Dublin. His most recent publications include Performing Statelessness in Europe (Palgrave Macmillan, 2018) and (with co-editor Radek Przedpełski) Deleuze, Guattari, and the Art of Multiplicity (Edinburgh University Press, 2020). He is currently co-editing the Palgrave Handbook of Theatre and Migration.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46533328","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-20DOI: 10.1017/S0266464X22000100
D. Pattie
examples of work with limited previous documentation in order to ‘extend the frames of reference’. The main body of this book is comprised of twelve chapters, authored by a range of contributors, all experts in their fields of work. The chapters include a range of applied theatre case studies, interviews, and essays, offering an insight into a breadth of practice in the sector. The range of contributors covers an international scope, including the USA, UK, Australia, and South Africa. Their various theatre programmes range from weekly drama-based workshops to film and singing projects, to radio plays and more. And although each is unique in its specific context, process, and product, there is a sense of connection between them. The contributors each demonstrate an awareness of the intricate complexities of practice in this environment and offer in-depth critical analysis of the socio-political framework in which they are working, particularly in relation to gendered experiences. Extracts of performance texts are interspersed through the chapters, and these are a welcome addition. They come froma range ofCleanBreak’swork, and have all been written by women who have experience of the criminal justice sector.McAvinchey states that she included these as she was ‘aware that the voices of the subjects of this book’ are ‘carefully mediated’ by others. Along with various quotes by the participants interspersedwithin the chapters, the performance texts offer a valuable reminder of their voices, and allow the experiences of both facilitators and prisoners to sit at the heart of the book. This book, then, will be of interest to applied theatre researchers and practitioners, students interested in theatre in the criminal justice sector, and those with interest in feminist studies, particularly feminist criminology. The reader can anticipate not only an engaging and accessible read but one containing honest and insightful reflections on newunderstandingswhich have unfolded through the theatre practice. Women and the Criminal Justice System provides a rich and thorough analysis of theatre work which negotiates ethical and pragmatic issues in order to strive to meet the needs of its participants, while encouraging audiences both within and out of the prison walls to consider the challenges of women in the criminal justice system. rachel mcmurray
{"title":"Philip Auslander\u0000In Concert: Performing Musical Persona Ann Arbor: University of Michigan Press, 2021. 294p. £36. ISBN: 978-0-472-05471-8.","authors":"D. Pattie","doi":"10.1017/S0266464X22000100","DOIUrl":"https://doi.org/10.1017/S0266464X22000100","url":null,"abstract":"examples of work with limited previous documentation in order to ‘extend the frames of reference’. The main body of this book is comprised of twelve chapters, authored by a range of contributors, all experts in their fields of work. The chapters include a range of applied theatre case studies, interviews, and essays, offering an insight into a breadth of practice in the sector. The range of contributors covers an international scope, including the USA, UK, Australia, and South Africa. Their various theatre programmes range from weekly drama-based workshops to film and singing projects, to radio plays and more. And although each is unique in its specific context, process, and product, there is a sense of connection between them. The contributors each demonstrate an awareness of the intricate complexities of practice in this environment and offer in-depth critical analysis of the socio-political framework in which they are working, particularly in relation to gendered experiences. Extracts of performance texts are interspersed through the chapters, and these are a welcome addition. They come froma range ofCleanBreak’swork, and have all been written by women who have experience of the criminal justice sector.McAvinchey states that she included these as she was ‘aware that the voices of the subjects of this book’ are ‘carefully mediated’ by others. Along with various quotes by the participants interspersedwithin the chapters, the performance texts offer a valuable reminder of their voices, and allow the experiences of both facilitators and prisoners to sit at the heart of the book. This book, then, will be of interest to applied theatre researchers and practitioners, students interested in theatre in the criminal justice sector, and those with interest in feminist studies, particularly feminist criminology. The reader can anticipate not only an engaging and accessible read but one containing honest and insightful reflections on newunderstandingswhich have unfolded through the theatre practice. Women and the Criminal Justice System provides a rich and thorough analysis of theatre work which negotiates ethical and pragmatic issues in order to strive to meet the needs of its participants, while encouraging audiences both within and out of the prison walls to consider the challenges of women in the criminal justice system. rachel mcmurray","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43249237","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-20DOI: 10.1017/S0266464X22000057
K. Karam, Galal Mohamed Naguib
This study discusses the potentials and challenges of Zoom theatre performances during the lockdown caused by the Covid-19 pandemic. It examines the utilization and applicability of videoconferencing software Zoom, and other streaming software compatible with it, in creating a viable performance option for theatre practitioners and audiences during mandatory social distancing. Such software can be a strategy for social inclusion, alleviating the adverse effects of extended quarantine. The article also discusses the technical and performative aspects of Zoom theatre, pointing out its pros and cons. It uses a critical and analytical approach to performances of two Zoom plays, Pandemic Therapy and Corona Chicken (Part Two), revealing how the playwright, dramaturg, and actors manage to present a live theatrical experience capable of engaging audiences and promoting social interaction. Khaled Mostafa Karam is an Assistant Professor of English Literature at the Suez University in Egypt and a Postdoctoral Fellow in the Department of Cognitive Science, Case Western Reserve University, USA. He has published eleven articles on the interdisciplinary field of cognitive science and drama. Galal Mohamed Naguib is an Assistant Professor of Sociology at Suez University and author of several articles in the fields of demographic analysis and the sociology of art.
{"title":"The Potentials and Challenges of Zoom Live Theatre during Coronavirus Lockdown: Pandemic Therapy and Corona Chicken (Part Two)","authors":"K. Karam, Galal Mohamed Naguib","doi":"10.1017/S0266464X22000057","DOIUrl":"https://doi.org/10.1017/S0266464X22000057","url":null,"abstract":"This study discusses the potentials and challenges of Zoom theatre performances during the lockdown caused by the Covid-19 pandemic. It examines the utilization and applicability of videoconferencing software Zoom, and other streaming software compatible with it, in creating a viable performance option for theatre practitioners and audiences during mandatory social distancing. Such software can be a strategy for social inclusion, alleviating the adverse effects of extended quarantine. The article also discusses the technical and performative aspects of Zoom theatre, pointing out its pros and cons. It uses a critical and analytical approach to performances of two Zoom plays, Pandemic Therapy and Corona Chicken (Part Two), revealing how the playwright, dramaturg, and actors manage to present a live theatrical experience capable of engaging audiences and promoting social interaction. Khaled Mostafa Karam is an Assistant Professor of English Literature at the Suez University in Egypt and a Postdoctoral Fellow in the Department of Cognitive Science, Case Western Reserve University, USA. He has published eleven articles on the interdisciplinary field of cognitive science and drama. Galal Mohamed Naguib is an Assistant Professor of Sociology at Suez University and author of several articles in the fields of demographic analysis and the sociology of art.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46427088","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-20DOI: 10.1017/S0266464X22000069
J. Pinder
This article examines the meaning of the ‘impolitical’ regarding cases of impolitical theatre and associated critical discourse, with reference to Rodolfo Usigli and Raymond Williams, among others. It is argued that ‘impolitical’ theatre represents social relations from the standpoint of the ideal of culture. The analysis starts with Richard Schechner’s critique of the original Broadway production of Edward Albee’s Who’s Afraid of Virginia Woolf? and discusses this play, segueing into The Performance Group’s Dionysus in 69. The author indicates the differences of theatre practice between the examples chosen, and shows that these theatres nevertheless participate in the same form of theatrical representation as they broach similar social questions of moment in the Unites States in the 1960s. John Yves Pinder has recently received his PhD from the University of Leeds. He is currently teaching at Leuphana University of Lüneberg.
本文通过参考鲁道夫·乌西格利和雷蒙德·威廉姆斯等人的作品，探讨了非政治戏剧和相关批评话语中“非政治”的含义。有人认为，从文化理想的角度来看，“非政治”戏剧代表了社会关系。分析开始于理查德·谢纳对百老汇原版爱德华·阿尔比的《谁怕弗吉尼亚·伍尔夫》的批评。并讨论了这出戏，接着是69年表演团体的《酒神》作者指出了所选例子之间戏剧实践的差异，并表明这些剧院参与了相同的戏剧表现形式，因为它们在20世纪60年代的美国提出了类似的社会问题。John Yves Pinder最近获得了利兹大学的博士学位。他目前在Leuphana University of l内贝格大学任教。
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Pub Date : 2022-04-20DOI: 10.1017/S0266464X22000045
B. Ince
Provincial touring companies of the late Victorian period, comprising mostly unknown actors and actresses, have received minimal scholarly attention until recently. The sheer number of ‘on-the-road’ artists who were employed in such enterprises from the late nineteenth century onwards increased to such an extent that to establish a framework for their individual and collective study presents significant challenges. This article addresses this problem by proposing a method, grounded in genealogy, that records the male and/or female artists of a given touring company over its full term without selective bias in order to establish a cohort of subjects for further examination. It tracks the touring companies of actor-manager Lawrence Daly, an individual unheard of today, between 1887 and 1900, the year of his death. One hundred and twenty-five female artists employed by Daly during this period are recovered, and their careers, family histories, and personal identities are subjected to statistical analysis. The conclusions drawn here not only contribute to the better understanding of the social history of non-elite female provincial artists of the late nineteenth century, but also afford the opportunity to shine a light on figures whose names, lives, and achievements are long forgotten. Further, a case is made for the method as the basis for a wide-ranging database of provincial touring companies and artists. Bernard Ince is an independent theatre historian who has contributed several articles on Victorian and Edwardian theatre to New Theatre Quarterly.
{"title":"Hidden Identities, Forgotten Histories: Female Provincial Touring Artists in Britain, 1887–1900","authors":"B. Ince","doi":"10.1017/S0266464X22000045","DOIUrl":"https://doi.org/10.1017/S0266464X22000045","url":null,"abstract":"Provincial touring companies of the late Victorian period, comprising mostly unknown actors and actresses, have received minimal scholarly attention until recently. The sheer number of ‘on-the-road’ artists who were employed in such enterprises from the late nineteenth century onwards increased to such an extent that to establish a framework for their individual and collective study presents significant challenges. This article addresses this problem by proposing a method, grounded in genealogy, that records the male and/or female artists of a given touring company over its full term without selective bias in order to establish a cohort of subjects for further examination. It tracks the touring companies of actor-manager Lawrence Daly, an individual unheard of today, between 1887 and 1900, the year of his death. One hundred and twenty-five female artists employed by Daly during this period are recovered, and their careers, family histories, and personal identities are subjected to statistical analysis. The conclusions drawn here not only contribute to the better understanding of the social history of non-elite female provincial artists of the late nineteenth century, but also afford the opportunity to shine a light on figures whose names, lives, and achievements are long forgotten. Further, a case is made for the method as the basis for a wide-ranging database of provincial touring companies and artists. Bernard Ince is an independent theatre historian who has contributed several articles on Victorian and Edwardian theatre to New Theatre Quarterly.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42018414","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-20DOI: 10.1017/S0266464X22000033
Vicki Ann Cremona
The recent barbaric murder of an investigative journalist in Malta who was looking into corruption at the top echelons of power sparked off a civil society movement, Repubblika, spurring ordinary citizens into participating in collective protest action. The movement also incorporated a loose grouping of women calling themselves ‘Occupy Justice’. Different forms of protest against government corruption have resulted in the resignation of various senior politicians and high-ranking officials, including the Prime Minister. Taking as a point of departure the struggle against the unequal distribution of power as defined by Michel Foucault and Jacques Rancière, the empowering force of civil protest is here examined in relation to how power is appropriated and how institutional power is resisted. Micromobilization and mesomobilization are seen as two means of staging protest and creating a common force with which to confront corrupt power structures. Protest, power, and resistance are viewed in the light of theatrical events; the creative means deployed to stage protests are discussed. The aesthetic qualities meant to transform perception and move people to action for bringing about political change are highlighted in relation to both sensory and symbolic dynamics. Vicki Ann Cremona is Professor of Theatre Studies at the University of Malta and the author of Carnival and Power: Play and Politics in a Crown Colony (Palgrave Macmillan, 2018), as well as a co-editor of Theatre Scandals: Social Dynamics of Turbulent Theatrical Events (Brill-Rodopi, 2020).
最近，马耳他一名调查权力高层腐败问题的调查记者被野蛮谋杀，引发了一场名为“共和国”的民间社会运动，促使普通公民参与集体抗议行动。这场运动还包括了一群自称“占领正义”的松散女性。针对政府腐败的不同形式的抗议导致包括总理在内的多名高级政治家和高级官员辞职。以米歇尔·福柯（Michel Foucault）和雅克·兰齐埃（Jacques Rancière。微观流动和中间动员被视为举行抗议和创建共同力量对抗腐败权力结构的两种手段。抗议、权力和抵抗是从戏剧事件的角度来看待的；讨论了举行抗议活动的创造性手段。旨在改变感知并促使人们采取行动以实现政治变革的美学品质在感官和象征动力方面都得到了强调。Vicki Ann Cremona是马耳他大学戏剧研究教授，著有《狂欢与权力：皇冠殖民地的戏剧与政治》（Palgrave Macmillan，2018），也是《戏剧丑闻：动荡戏剧事件的社会动力学》（Brill Rodopi，2020）的联合编辑。
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Pub Date : 2022-04-20DOI: 10.1017/S0266464X22000021
A. Golovlev
In 1917–18, the new republican governments of Russia, Germany, and Austria nationalized their former court property. A monarchic-turned-national heritage of prestigious opera and dramatic theatres weighed heavily on national and regional budgets, prompting first attempts to create centralized forms of theatre governance. In a second wave of theatre reorganization in the mid-1930s, the Soviet government created ‘union theatres’ under a Committee for Arts Affairs; the German and Austrian theatres underwent the Nazi Gleichschaltung (1933–35 and 1938); and France, a ‘democratic outlier’, opted for nationalizing the Opéra and Opéra-Comique under the Réunion des théâtres lyriques nationaux. These conglomerates have so far been little studied as historically specific forms of theatre management, particularly from a comparative, trans-regime perspective. What balance can be struck between economic, political, and ‘artistic’ costs and benefits? How does ‘Baumol’s law’ of decreasing theatre profitability apply to these very different politico-economic systems, as well as to war economies? Dictatorships reveal an economic seduction power, while this essay argues for confirming a long-term ‘great European convergence’ of state-centred theatre management, internal structure, and accountability, both in peace and war. Here, the stated goals and short-term contingencies yielded to trends originating from the logic of theatre production itself, and the compromises that the state, theatre professionals, and the public accepted in exchange for the capital of prestige. Alexander Golovlev (PhD, European University Institute in Florence, 2017) is a senior research fellow at the HSE Institute for Advanced Soviet and Post-Soviet Studies at the University of Moscow. His recent publications include, for New Theatre Quarterly, ‘Theatre Policies of Soviet Stalinism and Italian Fascism Compared, 1920–1940s’ (2019), and ‘Balancing the Books and Staging Operas under Duress: Bolshoi Theatre Management, Wartime Economy, and State Sponsorship in 1941–1945’, Russian History XLVII, No. 4 (2020).
1917年至1918年，俄国、德国和奥地利的新共和政府将他们以前的宫廷财产国有化。由君主制转变为国家遗产的著名歌剧和戏剧对国家和地区预算造成了沉重的负担，促使人们首次尝试建立集中的剧院治理形式。在20世纪30年代中期的第二波剧院重组中，苏联政府在艺术事务委员会下创建了“联盟剧院”;德国和奥地利的剧院经历了纳粹的“统一剧场”(1933-35年和1938年);而法国，一个“民主的异类”，选择了将opsamra和opsamra - comique收归国有，并将其纳入了r des thsam tres lyriques nationaux。迄今为止，很少有人将这些联合企业作为剧院管理的历史特定形式进行研究，特别是从比较的、跨政权的角度来看。如何在经济、政治和“艺术”成本和收益之间取得平衡?减少剧院利润的“鲍莫尔定律”如何适用于这些非常不同的政治经济体系，以及战争经济?独裁政权揭示了一种经济诱惑力量，而本文认为，无论是在和平时期还是战争时期，以国家为中心的剧院管理、内部结构和问责制，都是一种长期的“大欧洲趋同”。在这里，既定目标和短期偶然性屈服于源于戏剧制作本身逻辑的趋势，以及国家、戏剧专业人士和公众为换取声望资本而接受的妥协。Alexander Golovlev(博士，佛罗伦萨欧洲大学研究所，2017年)，莫斯科大学高级苏联和后苏联研究HSE研究所高级研究员。他最近的出版物包括，为新戏剧季刊，“苏联斯大林主义和意大利法西斯主义的戏剧政策比较，1920 - 40年代”(2019年)，以及“平衡书籍和在胁迫下上演歌剧:1941-1945年大剧院管理，战时经济和国家赞助”，俄罗斯历史XLVII，第4期(2020年)。
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