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
1.4.3 Theatre across Oceans1.4.4 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
2.3.1 Global Spaces of Communication - History and Media2.3.2 Telegraphy - The Cabling of the World
2.3.3 Agencies as Mediators: Markets for Texts and Images
2.3.4 Theatrescapes and Mediascapes3. 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
3.5.1 No Country Just For Men - Female Mediators3.5.2 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'
4.1.2 The Spirit of Speculation Entered into my Veins - Professional Beginnings4.1.3 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 Ecrivains Dramatiques - Marbury's Metier in France
4.1.8 Organising People: Marbury as Personal Manager and Dance Impresaria4.1.9 Contact Zones: Villa Trianon, Colony Club and Castle House
4.1.10 The Revue Russe and La Chauve-Souris
4.2 Playbroker - Alice Kauser (1871 - 1945)4.2.1 A Polyglot US-European: The Early Years
4.2.2 Kauser's Contacts: Publishers, Agencies, Managers, Actors
4.2.3 Miss Kauser Reads, Personally, Every Play Sent to Her - Kauser's System4.2.4 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
5.1.2 Cut Cables5.2 New Stages of Mediation
5.3 Divided History - History Divided: New Nationalisms
6. Conclusion