Contemporary Theatre Review

Papers
(The TQCC 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 2022-08-01 to 2026-08-01.)
ArticleCitations
A Text is a Pure Image. Correspondence Around Mapa Teatro7
On Finding the Story and Opening Doors: An Interview with Lolita Chakrabarti3
TransMission: Sissy TV3
Heavy Metal Ballet3
Editorial 34.42
Sixteen Things We Learned about Programming for Film Festivals under COVID2
Playing Dead: The Post-Tragic Impact of Child Actors in Simon Stone’s (2020) and Anne-Louise Sarks and Kate Mulvany’s (2012) Medea2
‘My Name is Janez Janša’: The Curious Reiteration of the Slovenian Prime Minister2
Queering the War: Ukrainian Theatre Challenging the Notions of Victimhood and Heroism1
Re-readings1
‘Entrances’, ‘Exits’ or ‘Nodes’, ‘Edges’, ‘Clusters’?: Simon Stone, & the Director as a ‘Network Subject’1
On the Edge: Straddling (Anti)normativity in Queer Performance1
Antigone as Witness: Theatre Making as a Response to Russia’s War on Ukraine1
Theatre’s Response to the Russian War on Ukraine: Performances of Witnessing, Documentation, and Intervention1
Live Art and Neurotransgression1
Sarah Kane’s Theatre of Psychic Life: Theatre, Thought, and Mental Suffering0
Backpages 36.10
‘Why Was I Born Among Mirrors?’: Hyper-(In)visibility in Simon Stone’s Yerma0
Theatre Meets Technology and Other Forms of Crisis Management: Reparative Positions, Covidian Love Affairs, Transformations0
Publics and Their Health: La Grande Manifestive, Aurillac, 20210
Who Cares?: Ethics and Practices of Care and Making Change in Contemporary Queer Performance Production0
Staging Social Distance: Performance Analysis of Theatre in Nigeria Since the COVID-19 Pandemic0
The Russian War in Ukraine in Polish Theater: Snapshots0
Sonic Spectral Summoning0
Decolonising Attention in and through Live Art0
Backpages 35.20
Liyuanxi – Chinese ‘Pear Garden TheatreLiyuanxi – Chinese ‘Pear Garden Theatre’ by Josh StenbergLondon: Methuen Drama, 2022, 174 pp, ISBN 9781350157392 (hardback)0
This is My Body: The Queer Messianic Dysphoria of The Pink Supper0
On Scent in Theatre Audience Research: Sensory Mining and Olfactory Archives0
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
Live Art: Radicalism and Complicity in a Scene of Constraint0
Indomitables: From Yeguas del Apocalipsis to Yeguada Latinoamericana0
Backpages 34.20
Coming Closer: Dance as Embodied Response to Russian War Aggression0
Decolonizing Site-Specific Performance Methodologies: Preliminary Steps0
Disability Art is Dead, Long Live Disability Art!: The Sick Crip Disabled Avant-Garde0
A Dialogue with Walter Meierjohann on Theatre, Installation, and Binaural Sound0
Love Me Tender: Kim Noble and the End of Loneliness0
Backpages 34.10
Displaying the Clothing of Refugees and Migrants: Performing Tragedy and Justice0
(Re)Presenting Blackface: Staging Racial Prosthetics in An Octoroon and Tight Right White0
Ghosts and Jumbies: Decolonial Live Art in Scotland0
The Importance of Congregation0
Commodity Trailing Contemporary Performance: Sh!t Theatre’s DollyWould and Selina Thompson’s salt0
The Pandemic as a Game Changer? Programme Planning in German Public Theatre During and After COVID: Why Formats Matter0
Hear Tell: Describing, Reporting, Narrating0
Marcia Farquhar and I0
Liberal Lives and Activist Repertoires: Political Performance and Victorian Social ReformLiberal Lives and Activist Repertoires: Political Performance and Victorian Social Reform by0
Backpages 35.40
The Apolline, the Dionysiac, and Spectatorship in Punchdrunk’s Masked Performances0
MIF Festival 2021 and COVID-190
Backpages 34.40
Indian Theatre in the time of Covid a Conversation Between Bishnupriya Dutt, Anuradha Kapur, and Tony Fisher0
Backpages 33.40
Introduction: Simon Stone and Company0
Stepping Out of the Line: Ukrainian Ballet in Search of a Contemporary Identity0
Micro-Festivals on the Fringe: The OFF d’Avignon in 20200
British Theatre in Crisis Mode: Recording COVID, Resilience and Rebirth0
Adapting Stig Dagerman’s German Autumn : An Interview with Anna Takanen and Stig Hansén0
Kings, Queens, Monsters, and Things: Digital Drag Performance and Queer Moves in Artificial Intelligence (AI)0
Regional Theatres as Placemakers: COVID Recovery, Communities of Practice, and Sense of Place0
Surviving and Sustaining in Live Art in Birmingham: Toni Lewis and Demi Nandhra in Conversation0
Stages of Conflict: Applied Theatre and the Ukrainian Experience of War (2014–2024)0
Mitigating Anxieties: Cleaving as Queer Becoming0
LIFT’s Shifts: Concept Touring & Times of Precarity0
What’s Queer about Queer Performance Now?0
Editorial0
Cultural Value in a Time of Crisis: Public Debates and Governmental Discourses in the G7 Nations0
Editorial 35.10
‘Live Art Vibes’ in Digital Culture – Affective Performances and Migrant Aesthetics from Eastern Europe0
A Self-Indulgent Narcissus : Performing Marxist Humanism as Individualism in the Work of Petr Štembera0
Editorial 35.40
Amber and Fire: Masculinities and War in die.könige (Resistance Theatre)0
To Expand the Possibilities of Performance: Laura Nanni on SummerWorks0
Looking onto the Boulder0
Modelling Agency for Characterisation: Applying the Degree of Agency Tool (DoAT) to William Kentridge’s Operated Performing Objects0
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
Innovation, Institutionalization, and the Experimental Sparkle of Independent Ukrainian Theatre0
Evolving into Chameleons: Survival Strategies for Tampere Theatre Festival during the COVID-19 Pandemic0
Joining a Festival During a Pandemic: Martine Dennewald and Jessie Mill Discuss the Tiohtiá:ke/Montréal-based Festival TransAmériques (FTA)0
Theatrical Affordances to Stage the Perceived-Experienced Reality of People with Dementia: Florian Zeller’s Dramaturgy of Porosity in The Father0
Backpages 34.30
Reading Across Performance, Politics, and the City: Akram Khan in Hong Kong0
Staging Vulnerability: Precarity, Dispossession, and the Limits of Despair0
Future Tribunals: Performing Responsibility and Justice in Polish Theatre After 20220
Attempts at a Description: Rose English’s Plato’s Chair and the Hear Tell0
Essential Work: Eastern European Immigrants and Models of Participation0
Essayistic Ventures in the Wake of Diasporas 10
Backpages 33.1-20
The Power of Disruption: The Future Is Creatively Vibrant at Te Ahurei Toi o Tāmaki (Auckland Arts Festival)0
Moore to Theatre Past: Queer Historiography and the Partnership of John Henry Moore and Jim Haynes as Foundational to British Alternative Performance Practices0
Building a Muscle: An Interview with Pamela López on Theatre at the Gabriela Mistral Cultural Centre Before, During, and After the COVID-19 Pandemic0
Performance and the Critique of Resilience in Culture (England, 2004–2020)0
The Decolonial Labour and the Gift of Contemporary Sámi Performance0
Hear-Telling the Chauraasi Archive: Performing Testimony After Trauma0
Rethinking Didactic Theatre for a Young Audience0
Cronies, Cliques and Lovers: Queer Friendship as Anti-Institutional Practice in UK Live Art Festivals0
Vaba Lava Narva as a Transgressive Space between Estonia and Russia during Russia’s War Against Ukraine0
Editorial 33.30
Document Sarah Kane’s 4.48 Psychosis Twenty-Five Years On: Interview with Daniel Evans0
Editorial 34.20
Staging the Human Remnant in the Anthropocene: Breaking the First Wall in Bruno Latour and Frédérique Aït-Touati’s Inside0
Festivals in the COVID Age of Crisis0
Young People Theatre: From Mental Illness to Gender and Race Discrimination0
Backpages 32.3-40
Translating Simon Stone’s Radical Rewritings into German0
From Facsimiles to Films: Theatre Broadcasting After COVID0
(De)Constructions of Optimism and Happiness: Mark Ravenhill’s Candide and Martin Crimp’s In the Republic of Happiness0
Funding Theatre in Italy: Critical Scenarios across the Pandemic0
Backpages 33.30
Festivals in the Pandemic0
Staging International Theatre Festivals in Mid-Pandemic Russia: An Interview with Roman Dolzhanskiy0
Philippine Catholic Festivals during the COVID-19 Pandemic: Performing Live in the ‘New’ Normal0
GIFT: Developing New Communities of Work0
‘Silliness and Childishness and Playfulness’: Interviewing Simon Stone in 20130
(De)mythologization of Femininity and Body Politics in Naghmeh Samini’s Grimace0
‘Process is Everything’: Interviewing Simon Stone in 20230
Haunted Taxonomies, Converging Temporalities: Queer Ghosts on the Stages of Istanbul0
On GIFT (Gateshead International Festival of Theatre) 20220
Backpages 35.10
The Performing Body of the Škofja Loka Passion Play0
Storying Silenced Queer Narratives: Koleka Putuma’s re-membering and re-memorying of Queer Trauma in No Easter Sunday for Queers (2019)0
Children in Theatre and Theatre for Children during the War in Ukraine0
An Irish Perspective on Festival Making in the Context of the COVID-19 Pandemic: The Case of St. Patrick’s Festival0
Let it Burn: Smell, Participation, and Solidarity in Travis Alabanza’s Burgerz0
Theater in a Post-Truth World: Texts, Politics, and Performance0
‘Isra-Drama: Exposure as Dialogue’0
Greek Performing Arts, Onassis Stegi, or How to Rave Against All Odds0
Transnational Queer-Feminist Methodologies in Live Art: Issues of Translation and Representation in Va-Bene Elikem Fiatsi’s Work0
Slow, Spectacular Labours: Liveness in Contemporary Dance0
Feeling the Future at Christian End-Time Performances0
Questions of Presence and Absence: Lessons from the Pandemic0
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