Abstract
To think critically about contemporary and past historiographical methodologies used to write theatrical and performance histories, one must think again about the purpose and the possibilities of historiographical praxis. If we are to believe the followers of Leopold von Ranke and E. G. Collingwood, historiographers aim to duplicate the charge of historical detectives: to discover what really happened. Thomas Postlewait, for example, states in The Cambridge Introduction to Theatre Historiography, “We seek the past event rather than the present engagement.”1 To seek the event and to know what happened requires objectivity on the part of the researcher akin to that found, ostensibly, in the laboratory sciences where the observer, present at the event, has the benefit of direct observation. By distinction, the historian, because of her absence at the event, must interrogate eyewitness accounts and secondary source material, careful always to verify the authenticity of the claims to truth made by the originator of the theatrical event or its subsequent commentators. While careful not to adopt the objectivity of laboratory sciences wholesale, Postlewait desires to fuse self-reflexive historical research with calculating scientific endeavor.2
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© 2015 Rosemarie K. Bank and Michal Kobialka
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Daddario, W. (2015). Adorno, Baroque, Gardens, Ruzzante: Rearranging Theatre Historiography. In: Bank, R.K., Kobialka, M. (eds) Theatre/Performance Historiography. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137397300_9
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DOI: https://doi.org/10.1057/9781137397300_9
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