1. Meandering (Theatre) Histories 1.1 Discoveries
1.2 Methodological Approaches
1.2.1 Relational Past: Global/Transnational History
1.2.2 Flows, Landscapes, Networks - Transnational Theories
1.3 Global/Transnational Theatre History
1.4 Design of the Study
1.4.1 Shared History - Theatrescapes - Follow the People
1.4.2 Sources
1.4.3 "Theatre across Oceans" 1.4.4 Structure
2. "Transfer, Transmission, Translation" - of Countries, Oceans, News
2.1 Prologue: The Sinking of a Ship as a Global Event
2.2 Transatlantic Passages - Infrastructures of Traffic, Travel and Theatre Trade
2.2.1 Passages on Land
2.2.2 Passages on Water
2.3 Mediascapes - Tele-Waves and Communication across Borders
2.3.1 Global Spaces of Communication - History and Media 2.3.2 Telegraphy - The Cabling of the World
2.3.3 Agencies as Mediators: Markets for Texts and Images
2.3.4 Theatrescapes and Mediascapes 3. Agencies - Backstage, Bookings, Bureaucracy
3.1 The Professionalisation of Theatrical Mediation
3.2 Repositories of a Profession: Papers and Paperwork as Traces
3.3 Mediators Reflected in (Theatre) Scholarship
3.4 Impresario, Entrepreneur, Manager, Agent - The Semantic Spectrum of the Term 'Mediator'
3.5 Powerful in Action, but Invisible: A Who's Who of Mediators
3.5.1 No Country Just For Men - Female Mediators 3.5.2 International Agencies
3.5.3 Multi-Professionalism and 'Cross-Ocean Knowledge'
3.6 Twice the Mediation: Agents and the Media as Mediators
3.7 "If Money not Here until Tomorrow You Lose Rights" Contracts, Rights, and Legal Precedents
3.8 Institutions as Critical Voices: (International) Syndicates and Associations
3.9 Research Gaps in International Performance Rights and Copyright
4. Transatlantic Mediators of Theatre
4.1 "An Active Medium for the Exchange" - Elisabeth Marbury (1855-1933)
4.1.1 "A Kaleidoscopic Mind" - Marbury's 'Transcultural Capital'
4.1.2 "The Spirit of Speculation Entered into my Veins" - Professional Beginnings 4.1.3 "In Touch With the World" - Building the Marbury Enterprise
4.1.4 Media Mediator - Marbury's "Novel Facts" and "Home Stories"
4.1.
About the Author: Nic Leonhardt is Associate Professor of Theatre Studies at LMU Munich. Her research focuses on theatre history of the nineteenth and twentieth century and is strongly interdisciplinary and transnational in approach. Since 2016 she has been the senior researcher and associate director of the ERC (European Research Council) project "Developing Theatre" at LMU Munich, as well as director of the Centre for Global Theatre History.
