Theatre Across Oceans: Mediators of Transatlantic Exchange, 1890-1925

            1.1 Discoveries

            1.2 Methodological Approaches

                        1.2.1 Relational Past: Global/Transnational History

1.2.2 Flows, Landscapes, Networks - Transnational Theories

            1.3 Global/Transnational Theatre History

            1.4 Design of the Study

                        1.4.1 Shared History - Theatrescapes - Follow the People

                        1.4.2 Sources

                        1.4.4 Structure

2. "Transfer, Transmission, Translation" - of Countries, Oceans, News

            2.1 Prologue: The Sinking of a Ship as a Global Event

2.2 Transatlantic Passages - Infrastructures of Traffic, Travel and Theatre Trade

                        2.2.1 Passages on Land

                        2.2.2 Passages on Water

2.3 Mediascapes - Tele-Waves and Communication across Borders

2.3.2 Telegraphy - The Cabling of the World

2.3.3 Agencies as Mediators: Markets for Texts and Images

3. Agencies Backstage, Bookings, Bureaucracy

3.1 The Professionalisation of Theatrical Mediation

3.2 Repositories of a Profession: Papers and Paperwork as Traces

3.3 Mediators Reflected in (Theatre) Scholarship

3.4 Impresario, Entrepreneur, Manager, Agent - The Semantic Spectrum of the Term 'Mediator'

3.5 Powerful in Action, but Invisible: A Who's Who of Mediators

3.5.2 International Agencies

3.5.3 Multi-Professionalism and 'Cross-Ocean Knowledge'

3.6 Twice the Mediation: Agents and the Media as Mediators

3.7 "If Money not Here until Tomorrow You Lose Rights": Contracts, Rights, and Legal Precedents

3.8 Institutions as Critical Voices: (International) Syndicates and Associations

3.9 Research Gaps in International Performance Rights and Copyright

4. Transatlantic Mediators of Theatre

            4.1 "An Active Medium for the Exchange" - Elisabeth Marbury (1855-1933)

4.1.1 "A Kaleidoscopic Mind" - Marbury's 'Transcultural Capital'

4.1.3  "In Touch With the World" - Building the Marbury Enterprise

4.1.4 Media Mediator - Marbury's "Novel Facts" and "Home Stories"

4.1.5 Marbury's Portfolio

4.1.6 "Regular, Systematic Work" - Marbury's Organisational Systems

4.1.7 "La Providence des Écrivains Dramatiques" - Marbury's Métier in France

4.1.9 Contact Zones: Villa Trianon, Colony Club and Castle House

4.1.10 The Revue Russe and La Chauve-Souris

4.2.1 A Polyglot US-European: The Early Years

4.2.2 Kauser's Contacts: Publishers, Agencies, Managers, Actors

4.2.4 Kauser's Client Files: Advancements and Failures

4.2.5 New Markets, New Departures: Alice Kauser's Motion Picture Department

4.3 The Global Amusement Explorer - Richard Pitrot (1852 - 1929)

                   4.3.2 "The Globe-Trotting Mimic" - From Vienna to the White House

                   4.3.2 Attractions, Circus, Agency

4.3.4 "Yours Mimically, Richard Pitrot" - Strategies for (Self-) Promotion

4.3.5 Richard Pitrot, "the Star-Seeker"

4.3.6 Circuits & Circus: "European Representative" for North and South America

4.4 "The Greatest Exporter of European Talent" - H. B. Marinelli (1864 - 1924)

4.4.1 First Career: Contortionist and Anatomical Miracle

4.4.2 Building a Global Agency - "The World's Theatrical Exchange"

4.4.3 The Marinelli System: Organisation of a Multi-Local and Multi-Professional Business

4.4.4 Mixed Mediation

4.4.5 Theatre Director in Paris: Olympia Music Hall, Boulevard des Capucines

5. Multifurcations: The Course and Decline of Transatlantic Theatre Flows during the First World War

5.1 Translations of Countries, Oceans, News

5.1.1 Stagnating Flows

5.2 New Stages of Mediation

5.3 Divided History - History Divided: New Nationalisms

6. Conclusion