Canadian Theatre Review

Papers
(The TQCC of Canadian Theatre Review is 0. The table below lists those papers that are above that threshold based on CrossRef citation counts [max. 250 papers]. The publications cover those that have been published in the past four years, i.e., from 2021-06-01 to 2025-06-01.)
ArticleCitations
To the Girls Club6
Unwieldy Desires3
The Cost of Entry Is a Heartbeat3
Tiny Houses, Treesits, and Housing on the Front Lines of the TMX Pipeline Resistance2
“The Highest Form of Resistance to Survive”: Basil AlZeri’s The Most Prized of All Closets2
How I Learned to Stop Worrying and Love the AI: AI as Muse, Disruptor, and the Future of Theatre1
Equitable Freedom beyond Proscenium Stages1
Old McDonald Had a Farm: 01000101 01001001 01000101 01001001 01001111: Ecoscenography for an Intractable Future Past1
The Antigone Play1
Editorial: Black Futures and Freedoms1
Artistic Fraud’s The Other Side of This1
Dwellings1
Relational Perspectives on Change: The Theory, Stories, and Practice of Postmarginality1
A New Day Has Dawned1
Imaginative Complicity, Interactive Tech, and the Challenges of Making Theatre in a New Digital Age1
Lightly Casting a Light on Casting; or, A Note on Auditions by an Actor-Director1
Space, Time, and Reactivity: Designing Software for Online Theatre1
O’kosi1
Improv Walk: Nature Is a Part of Me1
An Account of Durational and Distributed Encounters with Corpus CTR1
Writer-Designer Intersections at MODULE Digital Alchemy Creation Lab: A Conversation between Taylor Marie Graham and Beth Kates1
Trans Glitching in Social Virtual Reality1
Reading the TRC Summary Report Together: Collective Durational Practice1
Embracing the Distance: Accessing Dances of Connection1
Staying with More of the Trouble: Arts and Climate, Again and Always0
Staging Grenfell: The Ethics of Representing Housing Crises in London0
“From ‘What Is to What If’”: Thinking and Questioning about Canadian Theatre Review’s Next 200 Issues0
Pam Hall as House: A Conversation0
Anishinaabe Songs and Dances for the Gtigaan, or, Why I Feel They Can Save the World0
Voice Coaching at the Stratford Festival: A Vocation of Service0
Limit-Less0
Traces Devised Reminiscence”0
Liveness Plus in Political Virtual Reality Performance0
Explorations of Camille Turner’s Unmapped0
The Itinerary: Playtest0
Ownership and Engagement in Performance Art: The Black Drum Signed Musical Theatre Case Study0
Reaching Toward: Seeding Connection within the Matriarchs Uprising Festival0
Editorial: Focal Constellations0
Intimate Audio-Materialities: Reinventing Audio Drama for Community-Engaged Crisis Response in Ghost River Theatre’s SensoryBox0
Voicing with Code in Public0
Developmentally, Cognitively, and Intellectually Disabled People Are Artists, Not Pet Projects0
Systemic Issues Need Not Apply: One Artist’s Journey of Existing in the Margins0
Pursuing Universal Accessibility for Everyone: The Linguistic Experience at Partition/Ensemble Conference0
Keeping Good Company0
PXR2020: Re-Seeing the Possibilities of Theatre in Virtual, Augmented, and Mixed Reality0
The Possibility of New Work in the COVID Era0
Unexpected Connections between International Studies and Theatre0
Ungrateful: A Manifesto for Black Freedom in the Face of White Generosity0
Crip, Arts: Community Trajectories and Agendas0
The Trials and Triumphs of a Tar Baby0
(Un)Making History? Canadian Theatre History and the Canadian Theatre Review0
Decolonizing the Canada Council for the Arts: A Historical Perspective0
Connecting the Space between Us: An Interview with Multisensory Artist Salima Punjani0
Glossary0
Lucky (An Excerpt)0
“Working On and Against” Classic Burlesque Conventions in Zyra Lee Vanity’s Irie Love0
Unruly Sites, Bewildering Buildings, Angry Cities: A Wayward Walk0
Making Change from Within: Political Adaptation as Activism0
Continue without Disabling: Fifty Years of Disability Arts in Canadian Theatre Review0
Living with/on the Land0
A Catalyst for Rethinking and Rescripting Understanding of Disabled Performances0
Some Must Watch While Some Must Sleep: An Impromptu Text Thread0
The Weight of Ants and Other Things0
Utilizing Extended Reality as a Pedagogical and Continuous Learning Tool for the Performing Arts0
Black Boy Fly0
Editorial: Rules of Engagement0
SummerWorks Leaders Interviews0
A Past-Perfect Future?: Performing the Past as the Future of Theatre in Atlantic Canada0
There’s Something in a Story: Retreating to Re-Treat0
Gumshoes and Blanket Wings: Care in Pandemic Performances for Youth0
Editorial0
Who’s Afraid of Cabaret? A Conversation with Dainty Smith and Golboo Amani0
4inXchange0
A Negotiation of Collaborative Play: asses.masses0
Editorial: Transforming the Carbon World0
Capturing Elusiveness0
Co-Writing with Care: Ethics in/as Rehearsal0
On Being a Walking Body: Dramaturgies of Participatory Pandemic Theatre0
The Show Did Go On0
Making Space: A List Distilled from the Wisdom of Three Creative Placemakers0
Canadian Theatre Crossroads: Reaffirming Who We Are0
Jingle is for Healing0
Moccasins on the Ground: Rerooting the Indigenous Performing Body0
“Room for Failure Was Abundant”0
The Politics of an Epic: Why Not Theatre’s Mahabharata at the Shaw Festival0
Blackout0
Welcome to the Department of Utopian Arts and Letters0
Moral Horizons of Pain0
All I Want for Christmas Is a New Massey Commission0
“Letting My Body Take the Lead”: EDAM’s Peter Bingham on Choreographing with Parkinson’s0
Finding Hope Within Disruption: Exploring Prairie-Based Theatre in 20400
Chauvinism and Its Discontents: Canadian Theatre Review 1 Revisited0
Stanley Février: Performing the Invisible0
Gather (2021)0
“What Is Still to Be Sustained?”: Performing Climate Justice through Staging Transnational Sustainability from Canada to the Philippines0
Looking for Dance in Canadian Theatre Review0
A Grown-Up’s Guide to Flying0
Rehearsing Re-existence0
On Uncomfortable Theatre and Cozy Revolution0
The Darkness (La Noirceur)0
A Generous Incantation: Interdependent Magic: Disability Performance in Canada0
Staging Coyote’s Dream0
Vista200
Editorial: The Politics of Performing House: Transnational Perspectives0
Embrace0
The Survivance Collective: Exploration of Our Intersectionality as Black, Women, Deaf in Canada0
Front Matter0
Outcast: Limits and Possibilities in Casting Black Performers in the Age of Granular Dramaturgy0
Clean Irene in the Parking Lot0
Say It Loud: A Round Table of IBPOC Accent Coaches0
Perdre le nord/Losing the North0
Editorial: Intersections of Allyship, Action and Artistic Access0
When the Theatre Went Dark …0
The River Clyde Pageant: Inventing and Reinventing the Conditions for Planetary Performance0
Editorial: (pause) A Pandemic Time Capsule0
All of Him0
One Size Fits One: A Proposal for Board Governance0
Within Bated Breath: Waiting for the Pause0
Persevering, Preserving, and Sharing Our Mother0
Last Conversations0
The Artist and the Activist0
Decolonization—The Musical: Indigenous Interculturalism as a Way Forward0
Intensive Connections0
A Proposed Guide to Witnessing: Dialoguing with Streaming Life: Storying the 94 as a Site for Call-and-Response0
The Sounds of Rebellion: A Radionovela by and for Migrant Domestic Workers0
The Funny Thing about Cancer0
The Wrong Side of History, or How We Got It Wrong0
Performing in Public: Ethics of a Site-Specific Theatre Practice0
Reflecting from the Middle: Ethics within an Interactive Theatre Project Working for Social Equity0
On Mobilizing an Artist Brigade to Stay with the Trouble0
Inside The Blacktor’s Studio0
The Evolution of Themes, Networks, and Intersections in Canadian Theatre Review0
Loss, Great Grief, and Preservation: Brandy Leary’s Suspended0
Power to the Pause: A Pandemic Conversation with Jess Dobkin0
Women’s Voices Resonating in Public Space: LASTESIS’s A Rapist in Your Path in the Streets of Toronto0
Medicine Boy0
Across Cyberspace and Time Zones: How Ways of Being Explores Performances of Self in Material and Digital Spaces0
Editorial: Ethics and Socially Engaged Theatre0
I Slept with Tony Trouble0
Funerally Yours: A Collective Re-Membering of Taking It to the Grave0
this space is for you: Performing Site through Mixed Reality and Volumetric Capture0
Colouring In0
Extending Voice Work0
Interview with Natasha Bacchus, aka Courage (ASL-English Transcript)0
Accountability. Intervention. Community.: On the Making of a Two-Spirit Music Video for Pride Toronto Summer 20210
Terroir as Territory: Frybread and Fermentation as Critical Settler and Decolonial Practice0
1939 Reflections on Adaptation, Indigenous Theatre, and Shakespeare’s Legacy0
Breaking Ground0
“How Tremendous Are Your Deeds!”: The Reluctant Celebrity and Affective-Feminist Life of Forough Farrokhzad0
An Artist’s (Unpaid) Sabbatical0
Dancing into Relationality through Reciprocity, Resistance, and Resurgence0
Editorial: On Sustaining Attention and ‘Staying with the Trouble’0
Frontline Faces of COVID-19: Digital Pandemic Portraits0
Relational Indigenous Performance Writing0
Lost Together0
Creation Practices in Participatory Performance0
Theatrical Collisions in Laurence Dauphinais’s Cyclorama0
A New Ideology on an Old Belief0
Queering Actor Training and Supporting Gender Dissidence0
Back to “Normal”?0
Humanized Machine, Dehumanized Us: Exploring the Creation of an AI-Collaborated Scene0
What Was I Thinking? Rageful Ramblings…0
Thinking through Moving Together0
HGTV’sHouse Huntersand the Right to Coziness0
The Waves0
Telling It Back Different but the Same0
Augmented Reality ASL for 11:11 at Theatre Passe Muraille0
On How to Live Well: Houses as Theatres of the Good Life in Mexico City0
Montreal in Carte Blanche, 19740
Reconsidering the Black Archive: It’s About Time and Black Dance in Canada0
Da Capo! Eternal Recurrence, Clinical Vignettes, Grand Rounds0
“How Could WeNotGo to Mosul?”: Empathy,Anagnorisis, and the Politics of Recognition inOrestes in Mosul0
Access Me0
The Future Is Disabled0
Writers and Race: Why Playwrights of Colour Should Write Themselves into Their Plays0
b side0
Verbatim Voices: An Investigation of Housing and Development in Kingston0
“There is no such thing as a gay play”: Canadian Theatre Review and Gay Politics in the 1970s0
Breathing New Legacies Forward0
“It Comes with Practice”: Pierogi-Making as Preserving and Imagining Polonia0
Ec(h)o-Location: The Story of My Voice as I Know It0
Inside The Maydee Box0
Expanded Quantification: Games and Theatres of Calculation0
“Let the Breath Drop In”: The Story of Canada’s National Voice Intensive0
Introduction: Performance and Pathography0
Five by Five: Big Questions for Past Editors0
From Stage to Aural Streaming: Adaptation through a Slow Ethic of Care0
Participatory Political Violence: The Sensorial Toll of the Truckers’ Convoy0
“This, too, belongs”0
Imprint: Reflections on Canadian Theatre Review Play Publication0
The Corporate Side-hustle: Gag or Gift?0
Holy Moly0
Experiments in Care as a Reciprocal Act0
Art in the Age of Digital Re-Interpretation: Scratch Log0
Built of Earth: The Casona and Vernacular Earthen Architecture in Oaxaca, Mexico0
Editorial0
Jiimaan, That Teaching Sister: Practices of Archival Care0
How Many Performance Artists Does it Take to Change a Light Bulb (for Martha Wilson)0
Summer Magic: Creating a Sense of Welcome Back to Performance0
Zooming In: The Privilege of Performing Home0
St Peon of Parkdale0
SensoryBox0
The Pedagogy of Grief: Lessons from Making Zoom Theatre During a Pandemic0
Mixed with Black: A Canadian Theatre Mixed-Race Manifesto0
Agitprop or a Bunch of Observations from a Leftist about Decolonization0
A Round Table Conversation on the State of Hiring and Labour in Theatre and Performance Studies in Canada0
Some Must Watch While Some Must Sleep0
How We Gather Now: A Finding Aid0
Alternate Reality Gaming: Mad and Crip Potentialities in Digital Storytelling0
Encounters with Non/Living Beings: Puppet Artist Brad Brackenridge in Process and Performance0
The Designer’s Dilemma 2.0: Visual-ness and Canadian Theatre Review0
Illness as Inspiration for Creating Theatre0
Front Matter0
The Conscious-Casting Conundrum0
Wonderland0
Alone Together0
Reflections on Collaboration as Performance and the Performance of Collaboration in an Age of COVID and Climate Crisis0
“I’m So Happy I’m Here Tonight”0
A Year in the Life: Canadian Theatre Review, 19880
Theatre as Service … My Experience During the Global Pandemic in Canada0
Seeing Salome, Seeing Salome, Seeing Seeing: Atom Egoyan’s Salome at the Canadian Opera Company0
Redressing the Social Model of Disability: Autopathography, Performance, and the Material Body0
Review: Canadian Performance Documents and Debates: A Sourcebook0
Unveiled0
Festival Santiago a Mil0
XR Techno-Friction0
Even Darkness Is Made of Light0
Seeding the Future (This Is Not a Metaphor): Creative Acts of Public Gardening with Yarrow Collective0
White Man’s Indian0
A Speculative Manifesto: For the Future of Black Canadian Performance0
Building Possible Worlds in the Arts Through Collective Imagination0
Co-Carrying Rupture and Repair0
“Transformation Is Imperative”: Play Selection and Casting at Theatre Training Institutions0
TBD0
The Prophetic Place0
Where Does Sustainability Belong in the Creative Process?0
Editorial: Sustaining This Stage0
Chapter 21—a Photo Diary: My Journey to Becoming0
If Not Democratic0
Editorial: Acts of Preservation0
Hourglasses and Hammers: A Reflection on Forty Years of Interculturalism in Canadian Theatre Review0
Creative Enabling: Relations and Structures of Support for Disabled Artists0
Hīkoi—It Will be Solved by Walking0
SummerWorks with an Accent0
A Hoarding of Memories: Conversations about Feminist Theatre and Its Documentation in Canada0
Tell Us When You’re Uncomfortable: An Anti-Colonial Poetic Script with Mosquito, Lisa, Knowing, Western, Caesarean, Written Word, Marion, Being, Medicine, Sarah, and Other Unruly Characters0
When the Crow Caws: Performance and the Relational Politics of Hospitality in Hurmat Ain and Rabbya Naseer’s Art Practice0
Is Dearth a Little or a Lot?0
Critical Community-Engaged Scholarship: An Antidote to the Representation and Interpretation of Young People’s Experiences in Socially Engaged Theatre?0
Matriarchal Word Warriors in aPaddle Songfor E. Pauline Johnson Tekahionwake0
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