Abstract
ABSTRACT Transnationality and Modes of Production in Theatre Studies - This paper presents an argument in favor of a transnational approach which also examines modes of production within theatre studies in Brazil. Drawing on discussions that took place in July, 2018, at the Philanthropy, Development and the Arts international conference in Munich, we point to new possibilities that may enrich various fields of theatre research. In several cases discussed at the conference and summarized in this article, seemingly local issues and practices revealed their recurrence in other parts of the world (Brazil included), thus demonstrating their interconnection within transnational networks and circuits. In conclusion, it is suggested that the study of theatre from the perspective of transnationality and modes of production may also constitute an action in defense of research, and of the cultural milieu itself, particularly in countries that are living through reactionary periods, as is the case for Brazil today.
Highlights
to the relations that prevail in other fields of knowledge
least two factors that have contributed to the maintenance of this situation
both of which are linked to Brazilian academic tradition
Summary
Brazilian theatre studies still encounters obstacles in terms of international reach and interaction, as compared to the relations that prevail in other fields of knowledge. In presenting research of her own that is part of the Developing Theatre Project, Nic Leonhardt showed how, in the 1950s, Rockefeller Foundation investments for the institutionalization and professionalization of theatre in the Philippines were part of a clear strategy of American legitimation in the post-war era This German scholar provided a case study of director and playwright Severino Montano. Her research exemplifies the way in which some of the networks that were strategically built or used by large foundations such as Rockefeller strengthened professional theatre in emerging countries by selecting and financing the work of local experts She shows that, beyond money, at stake in the establishment of these cultural bridges was the circulation and implantation of ideas in a post-war world. The most obvious of them, far, has been the attack on teachers and artists not aligned with the government, and the consequent impossibility of a democratic public sphere for national debates
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