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 2021-05-01 to 2025-05-01.)
ArticleCitations
No More Masterpieces: Modern Art After Artaud5
Performance Art in the Second Public Sphere: Event-based Art in Late Socialist Europe2
‘My Name is Janez Janša’: The Curious Reiteration of the Slovenian Prime Minister2
A Text is a Pure Image. Correspondence Around Mapa Teatro2
Editorial 34.41
Live Art and Neurotransgression1
TransMission: Sissy TV1
Playing Dead: The Post-Tragic Impact of Child Actors in Simon Stone’s (2020) and Anne-Louise Sarks and Kate Mulvany’s (2012) Medea1
‘Why Was I Born Among Mirrors?’: Hyper-(In)visibility in Simon Stone’s Yerma1
Sixteen Things We Learned about Programming for Film Festivals under COVID1
On the Edge: Straddling (Anti)normativity in Queer Performance1
‘Entrances’, ‘Exits’ or ‘Nodes’, ‘Edges’, ‘Clusters’?: Simon Stone, & the Director as a ‘Network Subject’1
Performance and the Critique of Resilience in Culture (England, 2004–2020)0
Theater in a Post-Truth World: Texts, Politics, and Performance0
Questions of Presence and Absence: Lessons from the Pandemic0
MIF Festival 2021 and COVID-190
Cronies, Cliques and Lovers: Queer Friendship as Anti-Institutional Practice in UK Live Art Festivals0
Editorial 32.20
Share Your Work: Lola Arias’s Lecture Performance Series and the Artistic Cognitariat of the Global Pandemic0
Re-readings0
On GIFT (Gateshead International Festival of Theatre) 20220
A Conversation about Fortune With Simon Stephens, Sean Holmes, Paul Wills, and Atsuro Hirota0
This is My Body: The Queer Messianic Dysphoria of The Pink Supper0
Ghosts and Jumbies: Decolonial Live Art in Scotland0
Blackness and Self-Imaging: Lorraine O’Grady’s Performance as Mademoiselle Bourgeoise Noire0
The Pervasive Real: Virtual Co-Presence in Jordan Tannahill’s YouTube Play rihannaboi950
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
Indomitables: From Yeguas del Apocalipsis to Yeguada Latinoamericana0
Backpages 32.20
Staging the Human Remnant in the Anthropocene: Breaking the First Wall in Bruno Latour and Frédérique Aït-Touati’s Inside0
Shakespeare in Cyborg Theatre: Immersive VR Theatre and the Cyborg-Subject0
‘Who Cares?’: The Neoliberal Problem of Performing Care in Immersive and Participatory Play0
Decolonising Attention in and through Live Art0
Rethinking Didactic Theatre for a Young Audience0
Immigration Infrastructure Theatricalised in Illegalised and The Claim0
Translating Simon Stone’s Radical Rewritings into German0
GIFT: Developing New Communities of Work0
Looking onto the Boulder0
Micro-Festivals on the Fringe: The OFF d’Avignon in 20200
‘Live Art Vibes’ in Digital Culture – Affective Performances and Migrant Aesthetics from Eastern Europe0
Playing Slaughter: On Staging Animal Deaths and Entangling Art with Life0
auralia.space, digital platform for Aural/Oral Dramaturgies: Post-Verbatim, Amplified Storytelling and Gig Theatre in the Digital Age0
Live Art: Radicalism and Complicity in a Scene of Constraint0
Theatrical Affordances to Stage the Perceived-Experienced Reality of People with Dementia: Florian Zeller’s Dramaturgy of Porosity in The Father0
Performing Specimens: Contemporary Performance and Biomedical Display0
Staging Vulnerability: Precarity, Dispossession, and the Limits of Despair0
‘Process is Everything’: Interviewing Simon Stone in 20230
Theatre in Market Economies0
Transforming Tradition: The Reform of Chinese Theater in the 1950s and Early 1960s0
Let it Burn: Smell, Participation, and Solidarity in Travis Alabanza’s Burgerz0
Hear Tell: Describing, Reporting, Narrating0
Women in Performance: Repurposing Failure0
Feeling the Future at Christian End-Time Performances0
Backpages 33.1-20
Editorial 31.30
Notes on Contributors0
Essential Work: Eastern European Immigrants and Models of Participation0
Sarah Kane’s Theatre of Psychic Life: Theatre, Thought, and Mental Suffering0
The Decolonial Labour and the Gift of Contemporary Sámi Performance0
Slow, Spectacular Labours: Liveness in Contemporary Dance0
Backpages 34.20
Re-Readings0
Colour-blind Casting in Twenty-First Century British Theatre: Colourism, Racism, and the Representation of Black People on Stage0
LIFT’s Shifts: Concept Touring & Times of Precarity0
ReWild(e)ing Queer Performance0
‘Brecht in Practice’: Critical Reflections on Staging Drama Dialectically0
Evolving into Chameleons: Survival Strategies for Tampere Theatre Festival during the COVID-19 Pandemic0
Shakespeare’s Accents: Voicing Identity in Performance0
Editorial 34.20
Liyuanxi – Chinese ‘Pear Garden TheatreLiyuanxi – Chinese ‘Pear Garden Theatre’ by Josh StenbergLondon: Methuen Drama, 2022, 174 pp, ISBN 9781350157392 (hardback)0
A Story that Happens: On Playwriting, Childhood & Other Traumas0
Theatre of Anger: Radical Transnational Performance in Contemporary Berlin by Olivia Landry0
Staging Beckettian Minds: Umwelt and Cartesian Stage Space in Beckett’s Plays0
A Self-Indulgent Narcissus : Performing Marxist Humanism as Individualism in the Work of Petr Štembera0
Who Cares?: Ethics and Practices of Care and Making Change in Contemporary Queer Performance Production0
Festivals in the COVID Age of Crisis0
What’s Queer about Queer Performance Now?0
Contemporary Catastrophes: 2010s British Climate Crisis Theatre and Performativity0
Critical Anachronisms: Wael Shawky’s The Song of Roland: The Arabic Version0
Abstracts0
Editorial 31.40
A Dialogue with Walter Meierjohann on Theatre, Installation, and Binaural Sound0
Publics and Their Health: La Grande Manifestive, Aurillac, 20210
‘Mr. Blue Sky’ in the West End: Becoming Musical in Our Ladies of Perpetual Succour0
Backpages 33.30
Backpages 31.40
Project Nationalism and Theatre in Contemporary India0
Staging International Theatre Festivals in Mid-Pandemic Russia: An Interview with Roman Dolzhanskiy0
The Performing Body of the Škofja Loka Passion Play0
Backpages 34.10
Towards an Eighth Fire Approach: Developing Modes of Indigenous-Settler Performance-Making on Turtle Island0
Haunted Taxonomies, Converging Temporalities: Queer Ghosts on the Stages of Istanbul0
Liberal Lives and Activist Repertoires: Political Performance and Victorian Social ReformLiberal Lives and Activist Repertoires: Political Performance and Victorian Social Reform by0
Decolonizing Site-Specific Performance Methodologies: Preliminary Steps0
Editorial 32.10
The Power of Disruption: The Future Is Creatively Vibrant at Te Ahurei Toi o Tāmaki (Auckland Arts Festival)0
Backpages 34.40
‘Isra-Drama: Exposure as Dialogue’0
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
Joining a Festival During a Pandemic: Martine Dennewald and Jessie Mill Discuss the Tiohtiá:ke/Montréal-based Festival TransAmériques (FTA)0
Notes on Contributors0
Philippine Catholic Festivals during the COVID-19 Pandemic: Performing Live in the ‘New’ Normal0
Backpages 32.10
The Apolline, the Dionysiac, and Spectatorship in Punchdrunk’s Masked Performances0
Hear-Telling the Chauraasi Archive: Performing Testimony After Trauma0
The Importance of Congregation0
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
Backpages 32.3-40
Backpages 33.40
Power, Perception, and Professionalism: An Empirical Study of Digital Theatre Criticism in Canada0
The Węgajty Theatre: From Collectivity to Participation0
Adapting​ David Foster Wallace for​ the Swiss National Stage: An Interview with Yana Ross0
Sonic Spectral Summoning0
Festivals in the Pandemic0
Abstracts0
Multilingualism on the Berlin Stage: The Influence of Language Choice, Linguistic Access and Opacity on Cultural Diversity and Access in Contemporary Theatre0
Disability Art is Dead, Long Live Disability Art!: The Sick Crip Disabled Avant-Garde0
Playing Real: Mimesis, Media, and Mischief0
Surviving and Sustaining in Live Art in Birmingham: Toni Lewis and Demi Nandhra in Conversation0
Kings, Queens, Monsters, and Things: Digital Drag Performance and Queer Moves in Artificial Intelligence (AI)0
On Scent in Theatre Audience Research: Sensory Mining and Olfactory Archives0
To Expand the Possibilities of Performance: Laura Nanni on SummerWorks0
Beyond the Happening: Performance Art and the Politics of Communication0
Mitigating Anxieties: Cleaving as Queer Becoming0
Introduction: Simon Stone and Company0
Dancing the World Smaller: Staging Globalism in Mid-century America0
‘Silliness and Childishness and Playfulness’: Interviewing Simon Stone in 20130
Performance, Subjectivity, Cosmopolitanism0
Editorial 33.30
‘It’s Alive’: Towards a Monsterized Theatre with Beatbox Academy’s Frankenstein: How to Make a Monster0
Commodity Trailing Contemporary Performance: Sh!t Theatre’s DollyWould and Selina Thompson’s salt0
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 34.30
An Irish Perspective on Festival Making in the Context of the COVID-19 Pandemic: The Case of St. Patrick’s Festival0
Storying Silenced Queer Narratives: Koleka Putuma’s re-membering and re-memorying of Queer Trauma in No Easter Sunday for Queers (2019)0
Essayistic Ventures in the Wake of Diasporas 10
Moore to Theatre Past: Queer Historiography and the Partnership of John Henry Moore and Jim Haynes as Foundational to British Alternative Performance Practices0
Backpages 31.30
Theater as Data: Computational Journeys into Theater Research0
Conservative Experiments: Women’s Rewritings of The Imperial Stele Pavilion in the Twenty-First Century0
Marcia Farquhar and I0
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