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 2022-05-01 to 2026-05-01.)
ArticleCitations
A Text is a Pure Image. Correspondence Around Mapa Teatro7
On Finding the Story and Opening Doors: An Interview with Lolita Chakrabarti2
‘My Name is Janez Janša’: The Curious Reiteration of the Slovenian Prime Minister2
Editorial 34.42
TransMission: Sissy TV2
Sixteen Things We Learned about Programming for Film Festivals under COVID2
Heavy Metal Ballet2
On the Edge: Straddling (Anti)normativity in Queer Performance1
‘Entrances’, ‘Exits’ or ‘Nodes’, ‘Edges’, ‘Clusters’?: Simon Stone, & the Director as a ‘Network Subject’1
Playing Dead: The Post-Tragic Impact of Child Actors in Simon Stone’s (2020) and Anne-Louise Sarks and Kate Mulvany’s (2012) Medea1
An Irish Perspective on Festival Making in the Context of the COVID-19 Pandemic: The Case of St. Patrick’s Festival0
Editorial0
Live Art: Radicalism and Complicity in a Scene of Constraint0
Hear-Telling the Chauraasi Archive: Performing Testimony After Trauma0
Rethinking Didactic Theatre for a Young Audience0
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
Re-readings0
GIFT: Developing New Communities of Work0
Feeling the Future at Christian End-Time Performances0
Backpages 34.10
Essential Work: Eastern European Immigrants and Models of Participation0
Decolonising Attention in and through Live Art0
Storying Silenced Queer Narratives: Koleka Putuma’s re-membering and re-memorying of Queer Trauma in No Easter Sunday for Queers (2019)0
On GIFT (Gateshead International Festival of Theatre) 20220
British Theatre in Crisis Mode: Recording COVID, Resilience and Rebirth0
Staging the Human Remnant in the Anthropocene: Breaking the First Wall in Bruno Latour and Frédérique Aït-Touati’s Inside0
Theater in a Post-Truth World: Texts, Politics, and Performance0
Regional Theatres as Placemakers: COVID Recovery, Communities of Practice, and Sense of Place0
Cronies, Cliques and Lovers: Queer Friendship as Anti-Institutional Practice in UK Live Art Festivals0
Slow, Spectacular Labours: Liveness in Contemporary Dance0
Sonic Spectral Summoning0
Editorial 33.30
This is My Body: The Queer Messianic Dysphoria of The Pink Supper0
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
Indomitables: From Yeguas del Apocalipsis to Yeguada Latinoamericana0
Transnational Queer-Feminist Methodologies in Live Art: Issues of Translation and Representation in Va-Bene Elikem Fiatsi’s Work0
Theatre Meets Technology and Other Forms of Crisis Management: Reparative Positions, Covidian Love Affairs, Transformations0
Looking onto the Boulder0
‘Live Art Vibes’ in Digital Culture – Affective Performances and Migrant Aesthetics from Eastern Europe0
Kings, Queens, Monsters, and Things: Digital Drag Performance and Queer Moves in Artificial Intelligence (AI)0
Backpages 35.10
Staging Social Distance: Performance Analysis of Theatre in Nigeria Since the COVID-19 Pandemic0
Liyuanxi – Chinese ‘Pear Garden TheatreLiyuanxi – Chinese ‘Pear Garden Theatre’ by Josh StenbergLondon: Methuen Drama, 2022, 174 pp, ISBN 9781350157392 (hardback)0
Funding Theatre in Italy: Critical Scenarios across the Pandemic0
Liberal Lives and Activist Repertoires: Political Performance and Victorian Social ReformLiberal Lives and Activist Repertoires: Political Performance and Victorian Social Reform by0
Questions of Presence and Absence: Lessons from the Pandemic0
Staging International Theatre Festivals in Mid-Pandemic Russia: An Interview with Roman Dolzhanskiy0
Sarah Kane’s Theatre of Psychic Life: Theatre, Thought, and Mental Suffering0
Festivals in the Pandemic0
‘Process is Everything’: Interviewing Simon Stone in 20230
‘Why Was I Born Among Mirrors?’: Hyper-(In)visibility in Simon Stone’s Yerma0
A Dialogue with Walter Meierjohann on Theatre, Installation, and Binaural Sound0
MIF Festival 2021 and COVID-190
Haunted Taxonomies, Converging Temporalities: Queer Ghosts on the Stages of Istanbul0
Moore to Theatre Past: Queer Historiography and the Partnership of John Henry Moore and Jim Haynes as Foundational to British Alternative Performance Practices0
Surviving and Sustaining in Live Art in Birmingham: Toni Lewis and Demi Nandhra in Conversation0
Hear Tell: Describing, Reporting, Narrating0
Evolving into Chameleons: Survival Strategies for Tampere Theatre Festival during the COVID-19 Pandemic0
Introduction: Simon Stone and Company0
What’s Queer about Queer Performance Now?0
The Apolline, the Dionysiac, and Spectatorship in Punchdrunk’s Masked Performances0
Publics and Their Health: La Grande Manifestive, Aurillac, 20210
On Scent in Theatre Audience Research: Sensory Mining and Olfactory Archives0
Backpages 33.40
LIFT’s Shifts: Concept Touring & Times of Precarity0
Theatrical Affordances to Stage the Perceived-Experienced Reality of People with Dementia: Florian Zeller’s Dramaturgy of Porosity in The Father0
Editorial 35.10
Let it Burn: Smell, Participation, and Solidarity in Travis Alabanza’s Burgerz0
Micro-Festivals on the Fringe: The OFF d’Avignon in 20200
Disability Art is Dead, Long Live Disability Art!: The Sick Crip Disabled Avant-Garde0
Indian Theatre in the time of Covid a Conversation Between Bishnupriya Dutt, Anuradha Kapur, and Tony Fisher0
A Self-Indulgent Narcissus : Performing Marxist Humanism as Individualism in the Work of Petr Štembera0
‘Silliness and Childishness and Playfulness’: Interviewing Simon Stone in 20130
Greek Performing Arts, Onassis Stegi, or How to Rave Against All Odds0
Mitigating Anxieties: Cleaving as Queer Becoming0
Commodity Trailing Contemporary Performance: Sh!t Theatre’s DollyWould and Selina Thompson’s salt0
Backpages 35.20
Cultural Value in a Time of Crisis: Public Debates and Governmental Discourses in the G7 Nations0
Backpages 34.40
Essayistic Ventures in the Wake of Diasporas 10
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
Decolonizing Site-Specific Performance Methodologies: Preliminary Steps0
Live Art and Neurotransgression0
To Expand the Possibilities of Performance: Laura Nanni on SummerWorks0
Displaying the Clothing of Refugees and Migrants: Performing Tragedy and Justice0
Modelling Agency for Characterisation: Applying the Degree of Agency Tool (DoAT) to William Kentridge’s Operated Performing Objects0
‘Isra-Drama: Exposure as Dialogue’0
Adapting Stig Dagerman’s German Autumn : An Interview with Anna Takanen and Stig Hansén0
Backpages 34.30
The Importance of Congregation0
Who Cares?: Ethics and Practices of Care and Making Change in Contemporary Queer Performance Production0
Attempts at a Description: Rose English’s Plato’s Chair and the Hear Tell0
Marcia Farquhar and I0
Philippine Catholic Festivals during the COVID-19 Pandemic: Performing Live in the ‘New’ Normal0
Translating Simon Stone’s Radical Rewritings into German0
The Power of Disruption: The Future Is Creatively Vibrant at Te Ahurei Toi o Tāmaki (Auckland Arts Festival)0
Editorial 34.20
Backpages 33.30
The Decolonial Labour and the Gift of Contemporary Sámi Performance0
Backpages 32.3-40
The Performing Body of the Škofja Loka Passion Play0
Backpages 34.20
Backpages 33.1-20
From Facsimiles to Films: Theatre Broadcasting After COVID0
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
Festivals in the COVID Age of Crisis0
Joining a Festival During a Pandemic: Martine Dennewald and Jessie Mill Discuss the Tiohtiá:ke/Montréal-based Festival TransAmériques (FTA)0
Staging Vulnerability: Precarity, Dispossession, and the Limits of Despair0
Young People Theatre: From Mental Illness to Gender and Race Discrimination0
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