War and Theatrical Innovation

1. Front Matter

   Pages i-xxvii

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2. Theatrical Training

   1. Front Matter

      Pages 1-1

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   2. The Greek Tragic Chorus and Its Training for War: Movement, Music and Harmony in Theatrical and Military Performance

      • Will Shüler

      Pages 3-21

   3. Cultural Camouflage: Acting Identities in World War 2 Espionage

      • Fraser Stevens

      Pages 23-40

   4. The Scenographer as Camoufleur

      • Greer Crawley

      Pages 41-60

3. Propaganda Strategies

   1. Front Matter

      Pages 61-61

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   2. Puppetry and the Spanish Civil War

      • Cariad Astles

      Pages 63-80

   3. Theatrical Propaganda and an Imagined West During the Korean War

      • Yuh-Jhung Hwang

      Pages 81-99

   4. The Biopolitics of ISIS’ Iconoclastic Propaganda

      • Gabriella Calchi-Novati

      Pages 101-118

4. Patronage and New Directions

   1. Front Matter

      Pages 119-119

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   2. Guns, Money and the Muse: New Patronage in the Russian Civil War, 1919–1922

      • Mayhill C. Fowler

      Pages 121-138

   3. Manipulating Beijing Opera: Criminality and Prosperity During Civil War in China C. 1930

      • Lu Miao, Wei Feng

      Pages 139-160

   4. Patronizing the National Stage: Subsidies and Control in Wartime Britain

      • Anselm Heinrich

      Pages 161-178

   5. ‘Make Do and Mend’: Civilian and Military Audiences in Australian Popular Entertainment During the Pacific War of 1942–1945

      • Veronica Kelly

      Pages 179-198

5. Back Matter

   Pages 199-210

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This book examines the relationship between wartime conflict and theatre practices. Bringing together a diverse collection of essays in one volume, it offers both a geographically and historically wide view of the subject, taking examples from Britain, Australia and America to the Middle East, Korea and China, and spanning the fifth century BCE to the present day. It explores the ways in which theatre practices have been manipulated for use in political and military propaganda, such as the employment of scenographers to work on camouflage and the application of acting methods in espionage training. It also maps the change in relationships between performers and audiences as a result of conflict, and the emergence of new forms of patronage during wartime theatre-going, boosting morale at periods when social structures and identity were being destabilized.

• Political propaganda
• Military propaganda
• Wartime theatre
• Scenography as camouflage
• Espionage training
• Greek tragic chorus
• Pyrrhic dance
• Michael Chekhov
• Spanish Civil War
• Glove puppetry
• Korean War

• University of Newcastle, Callaghan, Australia

  Victor Emeljanow

Victor Emeljanow is Emeritus Professor in the School of Creative Industries at the University of Newcastle, Australia, and General Editor of the e-journal Popular Entertainment Studies. He has published widely on subjects including the reception of Chekhov in Britain, the career of Theodore Kommisarjevsky, Beerbohm Tree's engagement with Ibsen on the West End, Victorian popular dramatists, and prisoner-of-war entertainments during the First and Second World Wars.

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