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In: Transnational Theatre Histories
Contents -- Notes on Contributors -- List of Abbreviations -- List of Figures -- Chapter 1: Introduction -- Conceptual Framework: From National to Transnational and Global History -- Shifting Borders: Tours and Touring -- Institutional Imbrications and Epistemic Communities -- Acting, Artists and Art between the Battlefronts -- Postcolonial Perspectives -- Notes -- Part I: Shifting Borders: Tours and Touring -- Chapter 2: A Cold War Battleground: Catfish Row versus the Nevsky Prospekt -- Notes -- Chapter 3: Spirituals, Serfs, and Soviets: Paul Robeson and International Race Policy in the Soviet Union at the Start of the Cold War -- Minorities in the Soviet Union -- The 1934 Trip -- The 1936 Tour -- The 1949 Visit -- Robeson's Shift of Counter-discourse -- Notes -- Chapter 4: The Politics of an International Reputation: The Berliner Ensemble as a GDR Theatre on Tour -- The Importance of Touring to the Young Berliner Ensemble -- The Breakthrough Years -- Negotiating the Travel Ban after the Wall -- The International Dimension as Constant Presence -- Concluding Remarks on a Lop-sided, Symbiotic Relationship -- Notes -- Chapter 5: 'A tour to the West could bring a lot of trouble…'-The Mazowsze State Folk Song and Dance Ensemble during the First Period of the Cold War -- A New Cultural and Folklore Tradition -- The Birth of Mazowsze -- On Tour -- Conclusion -- Notes -- Chapter 6: Song and Dance Ensembles in Central European Militaries: The Spread, Transformation and Retreat of a Soviet Model -- Introduction -- Military Song and Dance Ensembles: Building on Three Older Cultural Traditions -- The Triangle of Tension: Artistic Needs, Political Requirements and Military Utilitarianism -- Artistic Needs -- Political Requirements -- Military Utilitarianism -- Foundation of Ensembles 'As Alike as Two Peas in a Pod'
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