Theatre History and Historiography

David Roberts, Birmingham City University, UK Rosemarie K. Bank, Kent State University, USA Viv Gardner, University of Manchester, UK Katherine Newey, University of Exeter, UK Poonam Trivedi, University of Delhi, India Alison Jeffers, University of Manchester, UK Heike Roms, Aberystwyth University, UK

• 1.Introduction; Claire Cochrane and Jo Robinson PART I: RE-WRITING (MASTER) NARRATIVES 2. Writing the Ethical Life: Theatrical Biography and the Case of Thomas Betterton; David Roberts 3. Ethics and Bias: Historiography and Anti-Theatrical Prejudice in Nineteenth-Century America; Rosemarie Bank 4. In the Eye of the Beholder: Recognising and Renegotiating the Scenario in Writing Performance Histories; Viv Gardner PART II: 'OTHER' HISTORIES 5. Feminist Historiography and Ethics: a Case Study from Victorian Britain; Katherine Newey 6. Garrison Theatre in Colonial India: Issues of Variation; Poonam Trivedi 7. Facing the Face of the Other: the Case of the Nia Centre; Claire Cochrane PART III: THE ETHICS OF EVIDENCE 8. Collecting And Re-Collecting: the Challenges and Possibilities of Developing a Social Archive in Post-Conflict Northern Ireland; Alison Jeffers 9. Mind the Gaps: Evidencing Performance and Performing Evidence in Performance Art History; Heike Roms Bibliography Index

“There are well-crafted and provocative essays here, and the foregrounding of ethical questions makes the volume a potentially useful companion to other anthologies … . The collection will be of interest to postgraduate students and scholars of theatre history, and some essays could be assigned to advanced undergraduates.” (David Calder, Contemporary Theatre Review, Vol. 28 (1), 2018)“The focus of the present collection is, as signaled by the subtitle, squarely on ethics and evidence … . they are held together by an impressively coherent and sustained engagement with a set of ethical challenges posed by the alterity of theatre-historical evidence. This volume firmly establishes ethics on the theatre-historiographical agenda.” (Christopher Balme, Theatre Notebook, Vol. 71 (1), February, 2017)