Contemporary Theatre Review

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 2022-01-01 to 2026-01-01.)
ArticleCitations
A Text is a Pure Image. Correspondence Around Mapa Teatro6
Heavy Metal Ballet3
On Finding the Story and Opening Doors: An Interview with Lolita Chakrabarti3
‘My Name is Janez Janša’: The Curious Reiteration of the Slovenian Prime Minister2
TransMission: Sissy TV2
Sixteen Things We Learned about Programming for Film Festivals under COVID2
On the Edge: Straddling (Anti)normativity in Queer Performance1
‘Why Was I Born Among Mirrors?’: Hyper-(In)visibility in Simon Stone’s Yerma1
Playing Dead: The Post-Tragic Impact of Child Actors in Simon Stone’s (2020) and Anne-Louise Sarks and Kate Mulvany’s (2012) Medea1
Adapting Stig Dagerman’s German Autumn : An Interview with Anna Takanen and Stig Hansén1
Live Art and Neurotransgression1
‘Entrances’, ‘Exits’ or ‘Nodes’, ‘Edges’, ‘Clusters’?: Simon Stone, & the Director as a ‘Network Subject’1
Re-readings1
Editorial 34.41
The Performing Body of the Škofja Loka Passion Play0
Liyuanxi – Chinese ‘Pear Garden TheatreLiyuanxi – Chinese ‘Pear Garden Theatre’ by Josh StenbergLondon: Methuen Drama, 2022, 174 pp, ISBN 9781350157392 (hardback)0
Shakespeare in Cyborg Theatre: Immersive VR Theatre and the Cyborg-Subject0
A Self-Indulgent Narcissus : Performing Marxist Humanism as Individualism in the Work of Petr Štembera0
Joining a Festival During a Pandemic: Martine Dennewald and Jessie Mill Discuss the Tiohtiá:ke/Montréal-based Festival TransAmériques (FTA)0
Multilingualism on the Berlin Stage: The Influence of Language Choice, Linguistic Access and Opacity on Cultural Diversity and Access in Contemporary Theatre0
Festivals in the COVID Age of Crisis0
Commodity Trailing Contemporary Performance: Sh!t Theatre’s DollyWould and Selina Thompson’s salt0
Editorial0
Cultural Value in a Time of Crisis: Public Debates and Governmental Discourses in the G7 Nations0
Essayistic Ventures in the Wake of Diasporas 10
Rethinking Didactic Theatre for a Young Audience0
‘Mr. Blue Sky’ in the West End: Becoming Musical in Our Ladies of Perpetual Succour0
‘Silliness and Childishness and Playfulness’: Interviewing Simon Stone in 20130
Contemporary Catastrophes: 2010s British Climate Crisis Theatre and Performativity0
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
Editorial 32.20
A Dialogue with Walter Meierjohann on Theatre, Installation, and Binaural Sound0
Surviving and Sustaining in Live Art in Birmingham: Toni Lewis and Demi Nandhra in Conversation0
Theatre in Market Economies0
Editorial 34.20
The Węgajty Theatre: From Collectivity to Participation0
What’s Queer about Queer Performance Now?0
Editorial 32.10
Storying Silenced Queer Narratives: Koleka Putuma’s re-membering and re-memorying of Queer Trauma in No Easter Sunday for Queers (2019)0
Backpages 32.3-40
The Importance of Congregation0
‘Live Art Vibes’ in Digital Culture – Affective Performances and Migrant Aesthetics from Eastern Europe0
Indian Theatre in the time of Covid a Conversation Between Bishnupriya Dutt, Anuradha Kapur, and Tony Fisher0
Theater in a Post-Truth World: Texts, Politics, and Performance0
Indomitables: From Yeguas del Apocalipsis to Yeguada Latinoamericana0
Essential Work: Eastern European Immigrants and Models of Participation0
Cronies, Cliques and Lovers: Queer Friendship as Anti-Institutional Practice in UK Live Art Festivals0
The Power of Disruption: The Future Is Creatively Vibrant at Te Ahurei Toi o Tāmaki (Auckland Arts Festival)0
Building a Muscle: An Interview with Pamela López on Theatre at the Gabriela Mistral Cultural Centre Before, During, and After the COVID-19 Pandemic0
Moore to Theatre Past: Queer Historiography and the Partnership of John Henry Moore and Jim Haynes as Foundational to British Alternative Performance Practices0
Theatrical Affordances to Stage the Perceived-Experienced Reality of People with Dementia: Florian Zeller’s Dramaturgy of Porosity in The Father0
Introduction: Simon Stone and Company0
The Decolonial Labour and the Gift of Contemporary Sámi Performance0
Publics and Their Health: La Grande Manifestive, Aurillac, 20210
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 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
Project Nationalism and Theatre in Contemporary India0
‘Who Cares?’: The Neoliberal Problem of Performing Care in Immersive and Participatory Play0
Backpages 35.10
Backpages 34.10
Mitigating Anxieties: Cleaving as Queer Becoming0
An Irish Perspective on Festival Making in the Context of the COVID-19 Pandemic: The Case of St. Patrick’s Festival0
From Facsimiles to Films: Theatre Broadcasting After COVID0
‘Process is Everything’: Interviewing Simon Stone in 20230
Backpages 34.40
Festivals in the Pandemic0
Staging International Theatre Festivals in Mid-Pandemic Russia: An Interview with Roman Dolzhanskiy0
Questions of Presence and Absence: Lessons from the Pandemic0
To Expand the Possibilities of Performance: Laura Nanni on SummerWorks0
Blackness and Self-Imaging: Lorraine O’Grady’s Performance as Mademoiselle Bourgeoise Noire0
Modelling Agency for Characterisation: Applying the Degree of Agency Tool (DoAT) to William Kentridge’s Operated Performing Objects0
Young People Theatre: From Mental Illness to Gender and Race Discrimination0
Who Cares?: Ethics and Practices of Care and Making Change in Contemporary Queer Performance Production0
The Pandemic as a Game Changer? Programme Planning in German Public Theatre During and After COVID: Why Formats Matter0
Ghosts and Jumbies: Decolonial Live Art in Scotland0
Sonic Spectral Summoning0
Evolving into Chameleons: Survival Strategies for Tampere Theatre Festival during the COVID-19 Pandemic0
Translating Simon Stone’s Radical Rewritings into German0
Backpages 33.1-20
Hear Tell: Describing, Reporting, Narrating0
This is My Body: The Queer Messianic Dysphoria of The Pink Supper0
The Pervasive Real: Virtual Co-Presence in Jordan Tannahill’s YouTube Play rihannaboi950
Backpages 33.30
Performance and the Critique of Resilience in Culture (England, 2004–2020)0
The Apolline, the Dionysiac, and Spectatorship in Punchdrunk’s Masked Performances0
Funding Theatre in Italy: Critical Scenarios across the Pandemic0
‘Isra-Drama: Exposure as Dialogue’0
Hear-Telling the Chauraasi Archive: Performing Testimony After Trauma0
Slow, Spectacular Labours: Liveness in Contemporary Dance0
Beyond the Happening: Performance Art and the Politics of Communication0
Feeling the Future at Christian End-Time Performances0
Backpages 32.10
Philippine Catholic Festivals during the COVID-19 Pandemic: Performing Live in the ‘New’ Normal0
Haunted Taxonomies, Converging Temporalities: Queer Ghosts on the Stages of Istanbul0
Looking onto the Boulder0
Theatre Meets Technology and Other Forms of Crisis Management: Reparative Positions, Covidian Love Affairs, Transformations0
auralia.space, digital platform for Aural/Oral Dramaturgies: Post-Verbatim, Amplified Storytelling and Gig Theatre in the Digital Age0
Transforming Tradition: The Reform of Chinese Theater in the 1950s and Early 1960s0
Kings, Queens, Monsters, and Things: Digital Drag Performance and Queer Moves in Artificial Intelligence (AI)0
Staging Vulnerability: Precarity, Dispossession, and the Limits of Despair0
Backpages 35.20
Backpages 32.20
Liberal Lives and Activist Repertoires: Political Performance and Victorian Social ReformLiberal Lives and Activist Repertoires: Political Performance and Victorian Social Reform by0
Staging Social Distance: Performance Analysis of Theatre in Nigeria Since the COVID-19 Pandemic0
Live Art: Radicalism and Complicity in a Scene of Constraint0
Greek Performing Arts, Onassis Stegi, or How to Rave Against All Odds0
Theatre of Anger: Radical Transnational Performance in Contemporary Berlin by Olivia Landry0
Decolonizing Site-Specific Performance Methodologies: Preliminary Steps0
Regional Theatres as Placemakers: COVID Recovery, Communities of Practice, and Sense of Place0
GIFT: Developing New Communities of Work0
Decolonising Attention in and through Live Art0
Micro-Festivals on the Fringe: The OFF d’Avignon in 20200
British Theatre in Crisis Mode: Recording COVID, Resilience and Rebirth0
Displaying the Clothing of Refugees and Migrants: Performing Tragedy and Justice0
Staging the Human Remnant in the Anthropocene: Breaking the First Wall in Bruno Latour and Frédérique Aït-Touati’s Inside0
Let it Burn: Smell, Participation, and Solidarity in Travis Alabanza’s Burgerz0
Backpages 34.30
LIFT’s Shifts: Concept Touring & Times of Precarity0
On GIFT (Gateshead International Festival of Theatre) 20220
On Scent in Theatre Audience Research: Sensory Mining and Olfactory Archives0
Transnational Queer-Feminist Methodologies in Live Art: Issues of Translation and Representation in Va-Bene Elikem Fiatsi’s Work0
Attempts at a Description: Rose English’s Plato’s Chair and the Hear Tell0
Editorial 35.10
Marcia Farquhar and I0
Editorial 33.30
Sarah Kane’s Theatre of Psychic Life: Theatre, Thought, and Mental Suffering0
Theater as Data: Computational Journeys into Theater Research0
Disability Art is Dead, Long Live Disability Art!: The Sick Crip Disabled Avant-Garde0
MIF Festival 2021 and COVID-190
Backpages 34.20
Backpages 33.40
Critical Anachronisms: Wael Shawky’s The Song of Roland: The Arabic Version0
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