Concepts also circulated. One of these ideas was theater in the four dimensions we've been talking about, as a building, an art form, as an institution, and as a social practice. Because the topic of globalization is so multi-faceted and discussed within many different disciplines, we will need more precise concepts to work with. I propose that we focus on three interconnected sub-concepts that occupy a central place in globalization debates. Deterritorialization, modernization, and connectivity. We will return to all three in the course of the lectures. So, for now, just a brief explanation. In the context of globalization studies, deterritorialization means that cultural experience is in various ways lifted out of its traditional anchoring in particular localities. Deterritorialization happens when people migrate and try and establish aspects of their home culture in a new environment. This detachment or disembedding, as it is sometimes called, is a key feature of globalized theater. Whether we are talking about touring theater, theater buildings and foreign locales, or contemporary phenomena such as live casting of theater productions and cinemas. In each case, established norms and practices are upset by the introduction of new cultural forms. Modernization is a much more familiar term, and one we associate with technological progress. The building of railways, hydroelectric dams, schools and universities. It was a hugely popular concept in the 1950s, 60s, and 70s, when optimism was high that modernization was the key to creating global equality. Today, we are no longer so optimistic, at least in Western countries. Many argue that modernization leads to deterritorialization in its negative sense, that is, the destruction of established cultural practices. So, we shall ask, to what extent theater can be seen as an example of modernization, that is, as a new and valued culture technology, or, as a strange foreign institution that has little or no function in the new locale. The third concept, connectivity, is one we might associate more with Skype, mobile communication, instant messaging, and so on. But it can also be understood in emotional, as well as technical terms. The feeling of connectedness, or it's loss, through migration. Connectivity is created and maintained through common languages say English, French, or Spanish, which are spoken all over the world. Connectivity is also established through trade and commerce. Connectivity can be seen as the counter-force to deterritorialization, working to overcome its negative effects. We'll be working with these concepts in the following lectures, where they will become more clear and, I hope, productive when we connect theater to globalization. Our goal here is not to write a global history of theater, which is not possible. But instead to understand how the forces of globalization met with the theatrical impulse and disseminated different forms of practices of theater around the globe.
