OOIR: Observatory of International Research

Papers

(The TQCC of Text and Performance Quarterly 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 2020-04-01 to 2024-04-01.)

Article	Citations
Mapping the “naturecultural turn” in performance studies	6
Do objects perform?: anthrolithic performance in Chaco Canyon	6
Critical aunty studies: an auntroduction	6
“Knowledge is like food”: qanruyutet on change and subsistence from John Smith	5
Recalling emotional recall: reflecting on the methodological significance of affective memory in autoethnography	4
Witnessing the archive: Stormé DeLarverie and queer performance historicity	4
Performative neutrality and rape culture in Naomi Iizuka’s Good Kids	4
“I know how it is when nobody sees you”: oral-history performance methods for staging trauma	3
Crafting empathy in I Got Your Back: A One(ish) Person Show Exploring Pain, Empathy, and Performance	3
Communication at the end of the world: affective material performativity and the nuclear danger sign	2
Toward critical nostalgia: performing African-American genealogical memory	2
Queer generativity: temporal collisions of Fred Astaire’s Dancing Lessons	2
“I forget who I am while I remember who I was so I can perform who I am”: memory, embodied practice, and thing-power in theater-making	2
Eclectic Truth Poetry Slam to Baton Rouge SLAM! An Obituary for Summer 2016: a recording of critical performance ethnography	1
#AfricanAunties: performing diasporic digital disbelongings on TikTok	1
Becoming a manual: au(n)to-ethnography and queer performances of a Greek theía	1
Reframing the politics of performance at 14 Henrietta Street: ANU’sLiving the Lockoutand Company SJ’sFizzles	1
Tour guide performances: four modes of framing tourist experience	1
Auntylectuals: a nonce taxonomy of aunty-power	1
Laughing at pink ribbon culture: Tig Notaro’s comedic subversion of the she-ro	1
The viral politics of masks: pandemic resistance and ontological performance	1
“Doctors Don’t Kill Babies! Monsters Do!”: using performance and personal narrative to identify the U.S. Abortion Monster	1
The accentual dialogized heteroglossia of Shakespeare in India: Utpal Dutt’s legacy inShakespeare WallahandThe Last Lear	1
“Homosexual men whose lives turned out unsuccessful”: Polish aunties in the transition era	1
Skills and strategies of activist mermaids: from pretty to powerful pictures	1

They’re just like us only fictional: an analysis on the materiality of LGBTQI+ representation	1
Artistic research and the queer prophetic	1
Baton Rouge SLAM! An Obituary for Summer 2016	1
Figuring the aggregated aunty: netporn, metadata and South Asian aunties	1
Sound-space: a listener’s creative outcome through an acousmatic performance at the Spatial Sound Institute	0
Embodying/writing/performing “women’s work”: pleasurable tensions and double binds of feminist performative autoethnography	0
A revolution in three acts: the radical Vaudeville of Bert Williams, Eva Tanguay, and Julian Eltinge A revolution in three acts: the radical Vaudeville of Bert Williams, Eva Tanguay, an	0
Do you think I can make friends with it? Exploring performative potential of the echo through myth and Autoethnography	0
Creating performances for teaching and learning: a practice session for pedagogy	0
Spectacular sweethearts: rethinking novelty through racial diversity and femininity on the bandstand	0
Searching for the Captain’s House	0
Adaptation Unites Us! A call for performance studies and forensics interpretation to adapt with each other	0
Teaching performance studies: communicating contemporary curricular practice in the United States	0
Embodiment and disembodiment in live art: from Grotowski to hologram	0
Shitsex: recontaminating queer sex and theory	0
Towards a less perfect pedagogy	0
When the audience becomes the performer: a response to Last Words	0
A Happily Married Man	0
Revolt of the body in stillness	0
And so we adapt	0
Inner monologues of a newbie CCPer	0
Poetic care: the orientations and relations of spoken word performance at three venues in East London	0
Awareness, reflection and imagination: how the metatheatrical explores the self and society in contemporary storytelling	0
Embodied fragments: embracing risk, failure, resistance, and pedagogical possibility	0
Is She Mad, or Does She Joke? Mapping the digital performance piece about the Countess de Castiglione	0
The Sense of Brown	0
Performing ice (performing landscapes series)	0
Culturally-responsive devising as performance	0
Growing from the outside, in: a response toA Happily Married Man	0
Crossing representational borders in Lola Arias’Minefield/Campo Minado	0
The performance of Last Words: a play of relational aesthetics	0
American cultures as transnational performance: commons, skills, traces	0
The Burner, the Default, and the Communicative Ethnographer: adapting ethnographic personae at Burning Man	0
A mothering dramaturgy: the creative co-practices of mothering and directing in contemporary rehearsal rooms	0
Correction	0
The stage in the page: analyzing the significance of the Nebentext in Girish Karnad’s play Hayavadana	0
Three lessons about performance studies derived from the devised adaption Don Quixote Ugly	0
Turning archival: the life of the historical in queer studies Turning archival: the life of the historical in queer studies , by D. Marshall and Z. Tortorici, Durham, NC	0
The Countess holds me	0
Fates of the performative: From the linguistic turn to the new materialism	0
Black and white, quare and queer: reimagining interracial dating through the Sibling Rivalry podcast	0
Transporting cultural sites/scripts: performing surfing, re-examining he’e nalu, and shaping/riding an alaia	0
Performativity confounded: agency, resistance, and the history of politeness	0
Collaborative performances of and toward survival in the communication classroom and beyond: an inter-institutional performance forum	0
Amital queer: aunts, negresses, and auntie men in Dionne Brand’s “Dialectics” and Hilton AlsThe Women	0
Statement of Removal	0
With our Clipped Wings: a research-based performance on gay men’s identities devised through narrative portraiture	0
¡Presente! The politics of presence	0
The Beekeeper of Aleppo: a transnational collaboration	0
Staging Process: The Aesthetic Politics of Collective Performance	0

The motion of invisible objects: aging queer desires	0
Bodies in dialogue: offering a model for queer oral history	0
Affective legacies: narrating the intergenerational transmission of racial feeling in oral history interviews	0
Old tales through new images and new tales through old images: ethnography of aJambavantaru katha(narrative) performance in Telangana	0
Is she mad, or does she joke?	0
Conquergood’s other: materializing the cultural text of Hmong and Latinx	0
The performativity of comedic apologies	0
Housekeeping as homecoming: adapting Chamber Theatre in “great time”	0
Freezing ontologies: making visible the messiness of working with theory	0
Miscommunication: transmission of information through The Letters of Shadow Puppets	0
Performance as narrative medicine	0
Modest trickster: a response to Last Words	0
What can we do? Performative refusal in Ikaria	0
I got your back: a one(ish) person show exploring pain, medicine, empathy, and performance	0
Space in the spotlight: a performance-centered approach to space as performer in rural cemeteries	0
“Can you dance for me?” the (Im)possibility of speaking trauma in dance ethnography	0
The performativity of terrorism: subversive experimentalist techniques inPornography(2007) by Simon Stephens	0
Black thoughts on Black notes	0
Staging and intertextualizing Franz Kafka’s “in the penal colony”	0
Honeypot: Black Southern women who love women	0
Practically Perfect	0
Adaptation as augmentation: performing writing as a means of survival	0
“It keeps us in solidarity”: embodied narrative in Chinese teacher education	0
Depression (re)cycling: geotraumatic performance & other cosmic plot holes	0
How to see a superbloom	0
Performing marginalized embodiment in fitness culture: co-storytelling in/exclusion through personal narrative	0
Public performances as assemblages: contesting the narrative of Thailand’s 2010 crackdown	0
Performing blackness: a composite counterstory of direct-to-consumer genetic ancestry testing	0
Classroom as refuge: performative possibilities for safety, collective healing, and resistance in the classroom and beyond	0
Being Muslim for dummies, or how not to be a threat 101: embodied performances of race and religion after the Manchester attack	0
“Vale verga” (“it’s worth a cock (nothing)”): the queer of color world-making consejos of Fernanda, an aging undocumented muxer/jota	0
Performance studies in Canada	0
Surviving the thin line between the comic and the cosmic through a readaptation of Wild Ducks Flying Backward	0
The creative researcher: writing that makes readers want to read	0
Performing extinction stories: exploring creative responses to bee decline	0
“A terrible beauty is born”: using Yeats to respond to Last Words , November 2021	0
The Unruly Muse	0
(Re)Positioning site dance: local acts, global perspectives	0
Ecocultural adjustment: revisiting acculturation through a Peace Corps sojourn	0
Killjoy pedagogy and the politics of a smile	0
Practically practicing perfection: failure, success, and rehearsal in Practically Perfect	0
White-expat-fans’ performing K-pop Other on YouTube	0
The Hundreds The Hundreds , by Lauren Berlant and Kathleen Stewart, Durham and London, Duke University Press, 2019, 173 pp., $23.95 (paperback), $99.95 (cloth), ISBN: 97	0
La Pocha Nostra: a handbook for the rebel artist in a post-democratic society	0
This bridge we call communication: Anzaldúan approaches to theory, method, and praxis	0
Auntiethesis: annotated syllabus from UCLA's Global Auntie Studies	0
The serious business of performance practice	0
Moving through crisis in Mariana Valencia’s Solo B	0
Adapting to survive … and thrive	0
On the anguish of going: an actor’s Endgame	0
Digital performance in everyday life Digital performance in everyday life , by Lyndsay Michalik Gratch and Ariel Gratch, New York, Routledge, 2022, vi-247, $44.05 (eBook	0
Embodied abject play: women “sex comics” and abject feminism	0
Performing Arts in Prisons: Creative Perspectives	0
Ishtyle: Accenting Gay Indian Nightlife	0
Dave Chappelle’s Sticks and Stones as Black Radical Tragic comedy	0
Windowscapes, dreamscapes and screen texts: train travel as performative practice in experimental film	0
K-pop dance: fandoming yourself on social media K-pop dance: fandoming yourself on social media , Oh, Chuyun., London: Routledge, 2022. 194 pp.$48.95 (paperback)	0
Tau(n)tology: Tannie Evita’s stewardship of South Africa’s national transitions	0
Out past metonymy in the New Jewish Cemetery, Lublin	0