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Contemporary Portuguese Theatre: Experimentalism, Politics and Utopia [Working Title]

spectives that have been marginalized in accounts of the period up to this point. The postcolonial approaches in Part 4 challenge and destabilize the binaries through which the Cold War is generally understood: the US versus the Soviet Union, or Western versus Eastern Europe. Rikard Hoogland’s contribution concerning the reception of Peter Weiss’s Song of a Lusitanian Bogey (1967) highlights how the media on both sides of the divide subsumed the play’s criticisms of colonialism into reductive discourses of East and West. Christine Matzke’s exploration of theatre practice and cultural policies in Eritrea against the background of the Ogaden war offers a rich portrait of a home-grown theatre culture influenced by but transcending Cold War dichotomies. In their chapter on dance in Manila, meLê yamomo and Basilio E. Villaruz present an insightful exploration of how the ColdWar shapedmany of the global epistemic communities now associated with globalization. These three chapters afford a glimpse into the rich and complex field of transnational postcolonial theatre. While the political instrumentalization of culture is a prominent theme across the volume, most chapters also testify to the shortcomings of attempts to use theatre and culture to serve political aims directly. Charlotte Canning provides a poignant example in her analysis of the tour of a US production of Porgy and Bess (1952) to Russia. The tour revealed US government ambitions to showcase American racial harmony, but the actors resisted that official line by employing their own creative agency. Elsewhere, contributors demonstrate how the Berliner Ensemble, Brook, Kantor, Grotowski, and Poland’s Mazowsze State Folk and Dance Ensemble trod the line between their own aesthetic ambitions and the objectives of those in power. At a time when the world is increasingly explained and understood through divisive discourse, the volume presents a timely exploration of how theatre and culture can be used and misused for ideological ends. That said, there is much hope in its delineation of the limits of such endeavours, not least through its understanding of how art and artists have the agency to champion complexity and ambiguity. This book constitutes an important source for subsequent research in related and cross-disciplinary fields, including but not limited to twentiethcentury global theatre histories, the Cold War, postcolonial studies, network theory, folk art, opera, and dance. It will also be of interest to those engaging in histories of specific companies and artists: in addition to those mentioned above, prominent figures discussed include Eugène Ionesco and Konstantin Stanislavsky. The editors and contributors offer detailed and fascinating insights into the theatrical Cold War, and importantly do so from multiple perspectives.