OOIR: Observatory of International Research

Papers

(The median citation count of Contemporary 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 2020-11-01 to 2024-11-01.)

Article	Citations
DARK ROOM. Sleaze and the Queer Archive	17
The Laws of Movement: The Natyashastra as Archive for Indian Classical Dance	7
Outing Pleasure and Indulgence: Indubala’s Scrapbook and the Red-Light Dances of Calcutta	3
Holding the Irish Queer Archive: An Interview with Louise Lowe and Lynnette Moran on ANU Productions’ Faultline	2
Performance Practices and the Conflict of Memory in Colombia: Working Towards a ‘Decolonial’ Digital Archive and Epistemological Justice	2
The Węgajty Theatre: From Collectivity to Participation	2
Immigration Infrastructure Theatricalised in Illegalised and The Claim	1
Shakespeare in Cyborg Theatre: Immersive VR Theatre and the Cyborg-Subject	1
Power, Perception, and Professionalism: An Empirical Study of Digital Theatre Criticism in Canada	1
Philippine Catholic Festivals during the COVID-19 Pandemic: Performing Live in the ‘New’ Normal	1
Festivals in the COVID Age of Crisis	1
Transnational Queer-Feminist Methodologies in Live Art: Issues of Translation and Representation in Va-Bene Elikem Fiatsi’s Work	1
The Pervasive Real: Virtual Co-Presence in Jordan Tannahill’s YouTube Play rihannaboi95	1
ReWild(e)ing Queer Performance	1
Kings, Queens, Monsters, and Things: Digital Drag Performance and Queer Moves in Artificial Intelligence (AI)	1
Introduction: Outing Archives, Archives Outing	1
Contemporary Catastrophes: 2010s British Climate Crisis Theatre and Performativity	1
Playing Dead: The Post-Tragic Impact of Child Actors in Simon Stone’s (2020) and Anne-Louise Sarks and Kate Mulvany’s (2012) Medea	0
The Future Stared Back at Us for the First Time: Black Holes Revisited	0
Adapting David Foster Wallace for the Swiss National Stage: An Interview with Yana Ross	0
‘Why Was I Born Among Mirrors?’: Hyper-(In)visibility in Simon Stone’s Yerma	0
This is My Body: The Queer Messianic Dysphoria of The Pink Supper	0
Staging International Theatre Festivals in Mid-Pandemic Russia: An Interview with Roman Dolzhanskiy	0
Sarah Kane’s Theatre of Psychic Life: Theatre, Thought, and Mental SufferingSarah Kane’s Theatre of Psychic Life: Theatre, Thought, and Mental Suffering by Leah Sidi. Lo	0
Let it Burn: Smell, Participation, and Solidarity in Travis Alabanza’s Burgerz	0

‘It’s Alive’: Towards a Monsterized Theatre with Beatbox Academy’s Frankenstein: How to Make a Monster	0
Backpages 31.1&2	0
‘Silliness and Childishness and Playfulness’: Interviewing Simon Stone in 2013	0
Essential Work: Eastern European Immigrants and Models of Participation	0
A Dialogue with Walter Meierjohann on Theatre, Installation, and Binaural Sound	0
Perpetual Motion: Dance, Digital Cultures, and the Common	0
Backpages 33.1-2	0
Theatre in Market Economies	0
Conservative Experiments: Women’s Rewritings of The Imperial Stele Pavilion in the Twenty-First Century	0
A Conversation about Fortune With Simon Stephens, Sean Holmes, Paul Wills, and Atsuro Hirota	0
The Power of Disruption: The Future Is Creatively Vibrant at Te Ahurei Toi o Tāmaki (Auckland Arts Festival)	0
Notes on Contributors	0
Backpages 31.4	0
Theater in a Post-Truth World: Texts, Politics, and PerformanceTheater in a Post-Truth World: Texts, Politics, and Performance edited by William C. Boles. London: Methuen Drama, 2022, 240 pp, ISBN 978	0
LIFT’s Shifts: Concept Touring & Times of Precarity	0
Theatre of Anger: Radical Transnational Performance in Contemporary Berlin by Olivia Landry	0
Evolving into Chameleons: Survival Strategies for Tampere Theatre Festival during the COVID-19 Pandemic	0
The Second Wave: Reflections on the Pandemic Through Photography, Performance and Public CultureThe Second Wave: Reflections on the Pandemic Through Photography, Performance and Public Culture	0
Samuel Beckett in Confinement: The Politics of Closed Space	0
Re-Readings	0
‘Process is Everything’: Interviewing Simon Stone in 2023	0
Hear-Telling the Chauraasi Archive: Performing Testimony After Trauma	0
Backpages 31.3	0
Performing Scottishness: Enactment and National Identities	0
On Scent in Theatre Audience Research: Sensory Mining and Olfactory Archives	0
An Irish Perspective on Festival Making in the Context of the COVID-19 Pandemic: The Case of St. Patrick’s Festival	0
‘Who Cares?’: The Neoliberal Problem of Performing Care in Immersive and Participatory Play	0
Beyond Broadway: the Pleasure and Promise of Musical Theatre Across America	0
Rethinking Didactic Theatre for a Young Audience	0
Mitigating Anxieties: Cleaving as Queer Becoming	0
Disorienting Settler-Phenomenology: Architecture Drag and the Dramaturgy of Archive Misalignment	0
Theater as Data: Computational Journeys into Theater Research	0
‘Brecht in Practice’: Critical Reflections on Staging Drama Dialectically	0
Essayistic Ventures in the Wake of Diasporas ¹	0
Share Your Work: Lola Arias’s Lecture Performance Series and the Artistic Cognitariat of the Global Pandemic	0
Towards an Eighth Fire Approach: Developing Modes of Indigenous-Settler Performance-Making on Turtle Island	0
The Apolline, the Dionysiac, and Spectatorship in Punchdrunk’s Masked Performances	0
Backpages 33.3	0
Micro-Festivals on the Fringe: The OFF d’Avignon in 2020	0
Notes on Contributors	0
Hear Tell: Describing, Reporting, Narrating	0
On the Edge: Straddling (Anti)normativity in Queer Performance	0
Festivals in the Pandemic	0
Backpages 33.4	0
A Self-Indulgent Narcissus : Performing Marxist Humanism as Individualism in the Work of Petr Štembera	0
Editorial 33.3	0
Not Yet and Elsewhere: Locating Lesbian Identity in Performance Archives, as Performance Archives	0
What’s Queer about Queer Performance Now?	0
Storying Silenced Queer Narratives: Koleka Putuma’s re-membering and re-memorying of Queer Trauma in No Easter Sunday for Queers (2019)	0
Sonic Spectral Summoning	0

Editorial 32.2	0
MIF Festival 2021 and COVID-19	0
Performing Specimens: Contemporary Performance and Biomedical Display	0
Multilingualism on the Berlin Stage: The Influence of Language Choice, Linguistic Access and Opacity on Cultural Diversity and Access in Contemporary Theatre	0
‘Isra-Drama: Exposure as Dialogue’	0
Shakespeare’s Accents: Voicing Identity in Performance	0
The Importance of Congregation	0
Women in Performance: Repurposing Failure	0
Epistemology of the Locker Room: A Queer Glance at the Physical Culture Archive	0
On GIFT (Gateshead International Festival of Theatre) 2022	0
Introduction: Simon Stone and Company	0
To Expand the Possibilities of Performance: Laura Nanni on SummerWorks	0
Liyuanxi – Chinese ‘Pear Garden TheatreLiyuanxi – Chinese ‘Pear Garden Theatre’ by Josh StenbergLondon: Methuen Drama, 2022, 174 pp, ISBN 9781350157392 (hardback)	0
Backpages 34.2	0
Staging the Human Remnant in the Anthropocene: Breaking the First Wall in Bruno Latour and Frédérique Aït-Touati’s Inside	0
Black Sheep: Rasheed Araeen, David Medalla, and Reconfigurations of Visibility in the 1970s	0
Translating Simon Stone’s Radical Rewritings into German	0
‘Mr. Blue Sky’ in the West End: Becoming Musical in Our Ladies of Perpetual Succour	0
Critical Anachronisms: Wael Shawky’s The Song of Roland: The Arabic Version	0
Dramaturgy of Extinction: Sentient Landscapes, Spectral Bodies, and Unthought Worlds in Kris Verdonck’s Conversations (at the end of the world) and SOMETHING (out of nothing)	0
The Decolonial Labour and the Gift of Contemporary Sámi Performance	0
Performance Art in the Second Public Sphere: Event-based Art in Late Socialist Europe	0
Beyond the Happening: Performance Art and the Politics of Communication	0
Off Sites: Contemporary Performance Beyond Site-specific	0
Feeling the Future at Christian End-Time PerformancesFeeling the Future at Christian End-Time Performances by Jill Stevenson. Ann Arbor: University of Michigan Press, 2022, 290 pp, ISBN 978-0472132850	0
auralia.space, digital platform for Aural/Oral Dramaturgies: Post-Verbatim, Amplified Storytelling and Gig Theatre in the Digital Age	0
Re-Readings	0
A Story that Happens: On Playwriting, Childhood & Other Traumas	0
Editorial 34.2	0
‘Entrances’, ‘Exits’ or ‘Nodes’, ‘Edges’, ‘Clusters’?: Simon Stone, & the Director as a ‘Network Subject’	0
Abstracts	0
No More Masterpieces: Modern Art After Artaud	0
Editorial 31.3	0
Sixteen Things We Learned about Programming for Film Festivals under COVID	0
Joining a Festival During a Pandemic: Martine Dennewald and Jessie Mill Discuss the Tiohtiá:ke/Montréal-based Festival TransAmériques (FTA)	0
Marcia Farquhar and I	0
Dancing the World Smaller: Staging Globalism in Mid-century America	0
Publics and Their Health: La Grande Manifestive, Aurillac, 2021	0
Project Nationalism and Theatre in Contemporary India	0
Re-readings	0
Theatrical Affordances to Stage the Perceived-Experienced Reality of People with Dementia: Florian Zeller’s Dramaturgy of Porosity in The Father	0
Staying at the Level of Impulses: Queering the Grotowski Archive in Karol Radziszewski’s The Prince	0
Who Cares?: Ethics and Practices of Care and Making Change in Contemporary Queer Performance Production	0
Haunted Taxonomies, Converging Temporalities: Queer Ghosts on the Stages of Istanbul	0
Notes on Contributors	0
Colour-blind Casting in Twenty-First Century British Theatre: Colourism, Racism, and the Representation of Black People on Stage	0
Looking onto the Boulder	0
Staging Beckettian Minds: Umwelt and Cartesian Stage Space in Beckett’s Plays	0
Playing Slaughter: On Staging Animal Deaths and Entangling Art with Life	0
Attempts at a Description: Rose English’s Plato’s Chair and the Hear Tell	0
Realness & the Digital Archive: South African Drag Online	0
Backpages 32.3-4	0
Backpages 32.1	0
Abstracts	0
GIFT: Developing New Communities of Work	0
Liberal Lives and Activist Repertoires: Political Performance and Victorian Social ReformLiberal Lives and Activist Repertoires: Political Performance and Victorian Social Reform by	0
Questions of Presence and Absence: Lessons from the Pandemic	0
Commodity Trailing Contemporary Performance: Sh!t Theatre’s DollyWould and Selina Thompson’s salt	0
A Text is a Pure Image. Correspondence Around Mapa Teatro	0
Abstracts	0
Dancing the Archive Brown, Dancing the Archive Other in Akram Khan’s XENOS (2018)	0
Backpages 34.1	0
Transforming Tradition: The Reform of Chinese Theater in the 1950s and Early 1960s	0
Blackness and Self-Imaging: Lorraine O’Grady’s Performance as Mademoiselle Bourgeoise Noire	0
Decolonizing Site-Specific Performance Methodologies: Preliminary Steps	0
Performance and the Critique of Resilience in Culture (England, 2004–2020)	0
Performance, Subjectivity, Cosmopolitanism	0
Editorial 32.1	0
The Dark Theatre: A Book About Loss	0
Enacted Offstage Images, Reported Onstage Action, and Parallel Fictional Worlds in Dead Centre’s Chekhov’s First Play (2015) and Tim Crouch and Rachana Jadhav’s	0
Backpages 32.2	0
Editorial 31.4	0
Playing Real: Mimesis, Media, and Mischief	0