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This book examines how the Cold War had a far-reaching impact on theatre by presenting a range of current scholarship on the topic from scholars from a dozen countries. They represent in turn a variety of perspectives, methodologies and theatrical genres, including not only Bertolt Brecht, Jerzy Grotowski and Peter Brook, but also Polish folk-dancing, documentary theatre and opera production. The contributions demonstrate that there was much more at stake and a much larger investment of ideological and economic capital than a simple dichotomy between East versus West or socialism versus capitalism might suggest. Culture, and theatrical culture in particular with its high degree of representational power, was recognized as an important medium in the ideological struggles that characterize this epoch. Most importantly, the volume explores how theatre can be reconceptualized in terms of transnational or even global processes which, it will be argued, were an integral part of Cold War rivalries.

Culture --- Theater --- Russia --- Europe, Eastern --- World history. --- Cultural and Media Studies. --- Theatre History. --- Global/International Theatre and Performance. --- National/Regional Theatre and Performance. --- Russian, Soviet, and East European History. --- World History, Global and Transnational History. --- Study and teaching. --- History. --- Drama --- History --- Drama, Modern --- Universal history --- Cultural studies --- Theater-History. --- Theater. --- Russia-History. --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors --- Cold War in literature. --- History and criticism. --- Theater—History. --- Russia—History. --- Europe, Eastern—History. --- Soviet Union --- Global and International Theatre and Performance. --- National and Regional Theatre and Performance.

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During the same period in which Derek Walcott was pouring immense physical, emotional, and logistical resources into the foundation of a viable first-rate West Indian theatre company and continuing to write his inimitable poetry, he was also busy writing newspaper reviews, chiefly for the Trinidad Guardian . His prodigious reviewing activity extended far beyond those areas with which one might most readily associate his interests and convictions. As Gordon Rohlehr once presciently observed, “If one wants to see a quotidian workaday Walcott, one should go back to [his] well over five hundred articles, essays and reviews on painting, cinema, calypso, carnival, drama and literature,” articles which “reveal a rich, various, witty and scrupulous intelligence in which generous humour counterpoints acerbity.” These articles capture the vitality of Caribbean culture and shed additional light on the aesthetic preoccupations expressed in Walcott’s essays published in journals. The editors have examined the corpus of Walcott’s journalistic activity from its beginnings in 1950 to its peak in the early 1970s, and have made a generous selection of material from the Guardian , along with occasional pieces from such sources as Public Opinion (Kingston) and The Voice of St. Lucia (Castries). The articles in Volume 1 are organized as follows: Caribbean society, culture, and the arts generally; literature and society; periodicals; anglophone poetry, prose fiction, and non-fiction; African and other literatures; and the visual arts (Caribbean and beyond). The volume closes with a selection of Walcott’s mis-cellaneous satirical essays. The volume editor Gordon Collier has written a searching introductory essay on a central theme – here, a critical, comparative analysis of Walcott’s development as journalist against the historical background of press activity in the Caribbean, coupled with an illustrative discussion (drawing on Walcott’s newspaper articles) of his attitudes towards prose fiction and poetry.

Walcott, Derek