ABSTRACT
The notion and concept of global theatre history, or transnational theatre history, critically negotiates and questions this alleged immobility, the national character, and the idea of aesthetic representation. The 'global' in global theatre history is often put into perspective and replaced by 'transnational', 'transregional', or 'translocal' movements of artistic personnel, works of art, aesthetic notions, concepts, and more. Global theatre history does not seek to replace regional, local, or national approaches to phenomena of past theatrical cultures, but offers an additional reading adapted to the present understanding of the world as such. Global theatre history relates to and is theoretically and methodologically based on concepts and perspectives from four fields: global history, transnational/transcultural theory, anthropological and sociological approaches to cultural mobility, and network analysis. An approach to theatre history that focuses on mobility, interlacing, and exchange requires the consultation of heterogeneous sources.
