Contemporary Theatre Review

Article	Citations
DARK ROOM. Sleaze and the Queer Archive	17
A Short Disquisition on Anatopia: Rethinking Place and Its Performance	5
The Laws of Movement: The Natyashastra as Archive for Indian Classical Dance	5
Wonder VR: Interactive Storytelling through VR 360 Video with NHS Patients Living with Dementia	3
From Facts to Feelings: The Development of Katie Mitchell’s Ecodramaturgy	3
Katie Mitchell and the Technologies of the Realist Theatre	2
Performance Practices and the Conflict of Memory in Colombia: Working Towards a ‘Decolonial’ Digital Archive and Epistemological Justice	2
Holding the Irish Queer Archive: An Interview with Louise Lowe and Lynnette Moran on ANU Productions’ Faultline	2
Liveness Redux: Radical Performance, Television, and the Truthfulness of Illusion in Bloody Mess by Forced Entertainment	2
Outing Pleasure and Indulgence: Indubala’s Scrapbook and the Red-Light Dances of Calcutta	2
Transnational Queer-Feminist Methodologies in Live Art: Issues of Translation and Representation in Va-Bene Elikem Fiatsi’s Work	1
The Polish Theatre of the Holocaust	1
The Węgajty Theatre: From Collectivity to Participation	1
‘Now for Our Irish Wars’ – Jez Butterworth’s The Ferryman and the Irish Dramatic Canon	1
Introduction: Outing Archives, Archives Outing	1
ReWild(e)ing Queer Performance	1
Shakespeare in Cyborg Theatre: Immersive VR Theatre and the Cyborg-Subject	1
List of Katie Mitchell’s Productions 1989-2019	1
Performing Specimens: Contemporary Performance and Biomedical Display	0
Re-Readings	0
Looking onto the Boulder	0
Participation, Preparedness, and Pandemic: An Interview with Blast Theory	0
Shakespeare’s Accents: Voicing Identity in Performance	0
Colour-blind Casting in Twenty-First Century British Theatre: Colourism, Racism, and the Representation of Black People on Stage	0
Epistemology of the Locker Room: A Queer Glance at the Physical Culture Archive	0

Multilingualism on the Berlin Stage: The Influence of Language Choice, Linguistic Access and Opacity on Cultural Diversity and Access in Contemporary Theatre	0
Notes on Contributors	0
Abstracts	0
A Machine Against Itself: Participation in the Theatre of Nassim Soleimanpour	0
‘Creating Something that Feels Alive’: Sound Design for Katie Mitchell. Interview with Donato Wharton	0
Mitigating Anxieties: Cleaving as Queer Becoming	0
Critical Anachronisms: Wael Shawky’s The Song of Roland: The Arabic Version	0
Black Sheep: Rasheed Araeen, David Medalla, and Reconfigurations of Visibility in the 1970s	0
Beyond Broadway: the Pleasure and Promise of Musical Theatre Across America	0
Backpages 32.1	0
auralia.space, digital platform for Aural/Oral Dramaturgies: Post-Verbatim, Amplified Storytelling and Gig Theatre in the Digital Age	0
Beyond the Happening: Performance Art and the Politics of Communication	0
Performing Scottishness: Enactment and National Identities	0
Katie Mitchell’s Theatre	0
Editorial 30.3	0
Immigration Infrastructure Theatricalised in Illegalised and The Claim	0
A Story that Happens: On Playwriting, Childhood & Other Traumas	0
Re-Readings	0
Editorial 30.4	0
Philippine Catholic Festivals during the COVID-19 Pandemic: Performing Live in the ‘New’ Normal	0
Re-Readings	0
The Five Continents of Theatre: Facts and Legends about the Material Culture of the Actor	0
Real Theatre: Essays in Experience	0
On the Edge: Straddling (Anti)normativity in Queer Performance	0
Towards an Eighth Fire Approach: Developing Modes of Indigenous-Settler Performance-Making on Turtle Island	0
The Future Stared Back at Us for the First Time: Black Holes Revisited	0
Editorial 31.3	0
Festivals in the Pandemic	0
Curating the Invisible: An Archive-Embedded Interview with Struan Leslie	0
Notes of Contributors	0
Project Nationalism and Theatre in Contemporary India	0
Essential Work: Eastern European Immigrants and Models of Participation	0
Not Yet and Elsewhere: Locating Lesbian Identity in Performance Archives, as Performance Archives	0
Theatrical Affordances to Stage the Perceived-Experienced Reality of People with Dementia: Florian Zeller’s Dramaturgy of Porosity in The Father	0
Performance, Subjectivity, Cosmopolitanism	0
Haunted Taxonomies, Converging Temporalities: Queer Ghosts on the Stages of Istanbul	0
Performing the Subcultural Freak: Leigh Bowery’s Peculiar Narcissism and the Disruption of Normativity	0
‘It’s Alive’: Towards a Monsterized Theatre with Beatbox Academy’s Frankenstein: How to Make a Monster	0
‘Mr. Blue Sky’ in the West End: Becoming Musical in Our Ladies of Perpetual Succour	0
Who Cares?: Ethics and Practices of Care and Making Change in Contemporary Queer Performance Production	0
Evolving into Chameleons: Survival Strategies for Tampere Theatre Festival during the COVID-19 Pandemic	0
Kinesthetic Spectatorship in the Theatre: Phenomenology, Cognition, Movement	0
The Odin Teatret Archives	0
LIFT’s Shifts: Concept Touring & Times of Precarity	0
Notes on Contributors	0
Festivals in the COVID Age of Crisis	0
Notes on Contributors	0
Staging Beckettian Minds: Umwelt and Cartesian Stage Space in Beckett’s Plays	0
Katie Mitchell and the Practice/ise of Rehearsal	0
The Power of Disruption: The Future Is Creatively Vibrant at Te Ahurei Toi o Tāmaki (Auckland Arts Festival)	0

Street Theatre in a State of Exception: Performing in Public after Bataclan	0
Power, Perception, and Professionalism: An Empirical Study of Digital Theatre Criticism in Canada	0
Insecurity: Perils and Products of Theatres of the Real	0
Abstracts	0
Re-Readings	0
The Decolonial Labour and the Gift of Contemporary Sámi Performance	0
Backpages 31.3	0
Correction	0
Notes on contributors	0
Interview with Katie Mitchell	0
Abstracts	0
Blackness and Self-Imaging: Lorraine O’Grady’s Performance as Mademoiselle Bourgeoise Noire	0
Performance and the Disney Theme Park Experience: The Tourist as Actor	0
Off Sites: Contemporary Performance Beyond Site-specific	0
Theatre of Anger: Radical Transnational Performance in Contemporary Berlin by Olivia Landry	0
Backpages 32.2	0
Editorial 32.1	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
Political Dramaturgies and Theatre Spectatorship: Provocations for Change	0
Opera’s Second Life: Katie Mitchell’s Contributions to Contemporary Opera-Making	0
Abstracts	0
Playing Real: Mimesis, Media, and Mischief	0
Backpages 33.3	0
‘Brecht in Practice’: Critical Reflections on Staging Drama Dialectically	0
An Irish Perspective on Festival Making in the Context of the COVID-19 Pandemic: The Case of St. Patrick’s Festival	0
Backpages 30.4	0
Necroperformance: Cultural Reconstructions of the War Body	0
Sixteen Things We Learned about Programming for Film Festivals under COVID	0
Playing Slaughter: On Staging Animal Deaths and Entangling Art with Life	0
No More Masterpieces: Modern Art After Artaud	0
Micro-Festivals on the Fringe: The OFF d’Avignon in 2020	0
A Self-Indulgent Narcissus : Performing Marxist Humanism as Individualism in the Work of Petr Štembera	0
Publics and Their Health: La Grande Manifestive, Aurillac, 2021	0
‘White People All Over’: Refugee Performance, Fictional Aesthetics, and Dramaturgies of Alterity-Empathy	0
Foucault’s Theatres edited by Tony Fisher and Kélina Gotman	0
On GIFT (Gateshead International Festival of Theatre) 2022	0
Realness & the Digital Archive: South African Drag Online	0
Staying at the Level of Impulses: Queering the Grotowski Archive in Karol Radziszewski’s The Prince	0
Dancing the World Smaller: Staging Globalism in Mid-century America	0
Disorienting Settler-Phenomenology: Architecture Drag and the Dramaturgy of Archive Misalignment	0
Kings, Queens, Monsters, and Things: Digital Drag Performance and Queer Moves in Artificial Intelligence (AI)	0
Agency: A Partial History of Live Art	0
Contemporary Catastrophes: 2010s British Climate Crisis Theatre and Performativity	0
The Importance of Congregation	0
Transforming Tradition: The Reform of Chinese Theater in the 1950s and Early 1960s	0
Backpages 33.1-2	0
To Expand the Possibilities of Performance: Laura Nanni on SummerWorks	0
Backpages 30.2	0
Backpages 30.3	0
MIF Festival 2021 and COVID-19	0
Conservative Experiments: Women’s Rewritings of The Imperial Stele Pavilion in the Twenty-First Century	0
Notes on Contributors	0
Repetition in Performance: Returns and Invisible Forces	0
‘Isra-Drama: Exposure as Dialogue’	0
Abstracts	0
Towards an Ecological Dramaturgy of Dining: Plate as Landscape Device	0
A Conversation about Fortune With Simon Stephens, Sean Holmes, Paul Wills, and Atsuro Hirota	0
Samuel Beckett in Confinement: The Politics of Closed Space	0
Stumbling around Polish Theatre with Katie Mitchell: A Personal Reflection	0
Performance and the Critique of Resilience in Culture (England, 2004–2020)	0
Stereographic Scenography: Ersan Mondtag’s (Post)colonial Frame in De Living	0
The Reasonable Audience: Theatre Etiquette, Behaviour Policing, and the Live Performance Experience	0
Ecologies of Precarity in Twenty-First Century Theatre: Politics, Affect, Responsibility	0
Women in Performance: Repurposing Failure	0
The Life of Training by John Matthews	0
‘Who Cares?’: The Neoliberal Problem of Performing Care in Immersive and Participatory Play	0
Dancing the Archive Brown, Dancing the Archive Other in Akram Khan’s XENOS (2018)	0
The Dark Theatre: A Book About Loss	0
Performance Art in the Second Public Sphere: Event-based Art in Late Socialist Europe	0
Share Your Work: Lola Arias’s Lecture Performance Series and the Artistic Cognitariat of the Global Pandemic	0
Theater as Data: Computational Journeys into Theater Research	0
The Pervasive Real: Virtual Co-Presence in Jordan Tannahill’s YouTube Play rihannaboi95	0
Queer Exceptions: Solo Performance in Neoliberal Times	0
Lockdown reading	0
‘Why Are We Doing This and Who Is it For?’: Youth Theatre Conversations with Liz Moreton and Conrad Murray at Battersea Arts* Centre	0
Performing Epic or Telling Tales	0
The Meaning of Peeling Paint (Notes on a Mitchell Mise-en-Scène)	0
This is My Body: The Queer Messianic Dysphoria of The Pink Supper	0
Editorial 31.4	0
The Performance of Water Governance as Cultural Heritage in Peru1	0

On Scent in Theatre Audience Research: Sensory Mining and Olfactory Archives	0
Negating Our Social Bonds: Experiencing Shame in Body Art as a Political Act	0
Staging International Theatre Festivals in Mid-Pandemic Russia: An Interview with Roman Dolzhanskiy	0
Backpages 31.4	0
Adapting​ David Foster Wallace for​ the Swiss National Stage: An Interview with Yana Ross	0
Joining a Festival During a Pandemic: Martine Dennewald and Jessie Mill Discuss the Tiohtiá:ke/Montréal-based Festival TransAmériques (FTA)	0
Re-readings	0
Backpages 31.1&2	0
Editorial 33.3	0
The Struggle to Remain Independent in the Privatized Theatre of Iran: An Interview with Tehran Independent Theatre Director Mostafa Koushki	0
Storying Silenced Queer Narratives: Koleka Putuma’s re-membering and re-memorying of Queer Trauma in No Easter Sunday for Queers (2019)	0
Perpetual Motion: Dance, Digital Cultures, and the Common	0
‘You Were an O. Your Black O in the Middle of Your Face’: Madness and Catastrophe in Katie Mitchell’s Ophelias Zimmer and Anatomy of a Suicide	0
Re-Readings	0
What’s Queer about Queer Performance Now?	0
GIFT: Developing New Communities of Work	0
Theatre in Market Economies	0
Editorial 32.2	0
Backpages 32.3-4	0
Abstracts	0
Staging the Human Remnant in the Anthropocene: Breaking the First Wall in Bruno Latour and Frédérique Aït-Touati’s Inside	0
Questions of Presence and Absence: Lessons from the Pandemic	0