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 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
Moore to Theatre Past: Queer Historiography and the Partnership of John Henry Moore and Jim Haynes as Foundational to British Alternative Performance Practices0
Shakespeare in Cyborg Theatre: Immersive VR Theatre and the Cyborg-Subject0
Storying Silenced Queer Narratives: Koleka Putuma’s re-membering and re-memorying of Queer Trauma in No Easter Sunday for Queers (2019)0
Decolonising Attention in and through Live Art0
Marcia Farquhar and I0
Backpages 31.30
Looking onto the Boulder0
Theater as Data: Computational Journeys into Theater Research0
Translating Simon Stone’s Radical Rewritings into German0
Performance and the Critique of Resilience in Culture (England, 2004–2020)0
auralia.space, digital platform for Aural/Oral Dramaturgies: Post-Verbatim, Amplified Storytelling and Gig Theatre in the Digital Age0
Theater in a Post-Truth World: Texts, Politics, and Performance0
‘Live Art Vibes’ in Digital Culture – Affective Performances and Migrant Aesthetics from Eastern Europe0
MIF Festival 2021 and COVID-190
Cronies, Cliques and Lovers: Queer Friendship as Anti-Institutional Practice in UK Live Art Festivals0
Staging Vulnerability: Precarity, Dispossession, and the Limits of Despair0
Share Your Work: Lola Arias’s Lecture Performance Series and the Artistic Cognitariat of the Global Pandemic0
Theatrical Affordances to Stage the Perceived-Experienced Reality of People with Dementia: Florian Zeller’s Dramaturgy of Porosity in The Father0
On GIFT (Gateshead International Festival of Theatre) 20220
A Conversation about Fortune With Simon Stephens, Sean Holmes, Paul Wills, and Atsuro Hirota0
Transforming Tradition: The Reform of Chinese Theater in the 1950s and Early 1960s0
Ghosts and Jumbies: Decolonial Live Art in Scotland0
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
Women in Performance: Repurposing Failure0
Backpages 32.20
Rethinking Didactic Theatre for a Young Audience0
Notes on Contributors0
‘Who Cares?’: The Neoliberal Problem of Performing Care in Immersive and Participatory Play0
GIFT: Developing New Communities of Work0
Backpages 34.20
Immigration Infrastructure Theatricalised in Illegalised and The Claim0
The Decolonial Labour and the Gift of Contemporary Sámi Performance0
Playing Slaughter: On Staging Animal Deaths and Entangling Art with Life0
‘Brecht in Practice’: Critical Reflections on Staging Drama Dialectically0
Micro-Festivals on the Fringe: The OFF d’Avignon in 20200
LIFT’s Shifts: Concept Touring & Times of Precarity0
A Story that Happens: On Playwriting, Childhood & Other Traumas0
Live Art: Radicalism and Complicity in a Scene of Constraint0
Editorial 34.20
Performing Specimens: Contemporary Performance and Biomedical Display0
‘Process is Everything’: Interviewing Simon Stone in 20230
Staging Beckettian Minds: Umwelt and Cartesian Stage Space in Beckett’s Plays0
Theatre in Market Economies0
Who Cares?: Ethics and Practices of Care and Making Change in Contemporary Queer Performance Production0
Feeling the Future at Christian End-Time Performances0
Let it Burn: Smell, Participation, and Solidarity in Travis Alabanza’s Burgerz0
Critical Anachronisms: Wael Shawky’s The Song of Roland: The Arabic Version0
Hear Tell: Describing, Reporting, Narrating0
What’s Queer about Queer Performance Now?0
Essential Work: Eastern European Immigrants and Models of Participation0
Backpages 33.1-20
Publics and Their Health: La Grande Manifestive, Aurillac, 20210
Editorial 31.30
Editorial 31.40
Sarah Kane’s Theatre of Psychic Life: Theatre, Thought, and Mental Suffering0
Project Nationalism and Theatre in Contemporary India0
Slow, Spectacular Labours: Liveness in Contemporary Dance0
Backpages 33.30
Re-Readings0
Colour-blind Casting in Twenty-First Century British Theatre: Colourism, Racism, and the Representation of Black People on Stage0
Towards an Eighth Fire Approach: Developing Modes of Indigenous-Settler Performance-Making on Turtle Island0
ReWild(e)ing Queer Performance0
The Performing Body of the Škofja Loka Passion Play0
Evolving into Chameleons: Survival Strategies for Tampere Theatre Festival during the COVID-19 Pandemic0
Shakespeare’s Accents: Voicing Identity in Performance0
Liberal Lives and Activist Repertoires: Political Performance and Victorian Social ReformLiberal Lives and Activist Repertoires: Political Performance and Victorian Social Reform by0
Liyuanxi – Chinese ‘Pear Garden TheatreLiyuanxi – Chinese ‘Pear Garden Theatre’ by Josh StenbergLondon: Methuen Drama, 2022, 174 pp, ISBN 9781350157392 (hardback)0
Theatre of Anger: Radical Transnational Performance in Contemporary Berlin by Olivia Landry0
Backpages 34.40
A Self-Indulgent Narcissus : Performing Marxist Humanism as Individualism in the Work of Petr Štembera0
Contemporary Catastrophes: 2010s British Climate Crisis Theatre and Performativity0
Joining a Festival During a Pandemic: Martine Dennewald and Jessie Mill Discuss the Tiohtiá:ke/Montréal-based Festival TransAmériques (FTA)0
Festivals in the COVID Age of Crisis0
A Dialogue with Walter Meierjohann on Theatre, Installation, and Binaural Sound0
Hear-Telling the Chauraasi Archive: Performing Testimony After Trauma0
Abstracts0
Backpages 32.10
Power, Perception, and Professionalism: An Empirical Study of Digital Theatre Criticism in Canada0
‘Mr. Blue Sky’ in the West End: Becoming Musical in Our Ladies of Perpetual Succour0
Backpages 32.3-40
Backpages 31.40
Abstracts0
Staging International Theatre Festivals in Mid-Pandemic Russia: An Interview with Roman Dolzhanskiy0
Sonic Spectral Summoning0
Backpages 34.10
Decolonizing Site-Specific Performance Methodologies: Preliminary Steps0
Disability Art is Dead, Long Live Disability Art!: The Sick Crip Disabled Avant-Garde0
Haunted Taxonomies, Converging Temporalities: Queer Ghosts on the Stages of Istanbul0
Surviving and Sustaining in Live Art in Birmingham: Toni Lewis and Demi Nandhra in Conversation0
‘Isra-Drama: Exposure as Dialogue’0
Editorial 32.10
Beyond the Happening: Performance Art and the Politics of Communication0
The Power of Disruption: The Future Is Creatively Vibrant at Te Ahurei Toi o Tāmaki (Auckland Arts Festival)0
On Scent in Theatre Audience Research: Sensory Mining and Olfactory Archives0
Notes on Contributors0
Transnational Queer-Feminist Methodologies in Live Art: Issues of Translation and Representation in Va-Bene Elikem Fiatsi’s Work0
‘Silliness and Childishness and Playfulness’: Interviewing Simon Stone in 20130
Attempts at a Description: Rose English’s Plato’s Chair and the Hear Tell0
Introduction: Simon Stone and Company0
Philippine Catholic Festivals during the COVID-19 Pandemic: Performing Live in the ‘New’ Normal0
Commodity Trailing Contemporary Performance: Sh!t Theatre’s DollyWould and Selina Thompson’s salt0
The Apolline, the Dionysiac, and Spectatorship in Punchdrunk’s Masked Performances0
Editorial 33.30
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
An Irish Perspective on Festival Making in the Context of the COVID-19 Pandemic: The Case of St. Patrick’s Festival0
Backpages 33.40
The Węgajty Theatre: From Collectivity to Participation0
Adapting​ David Foster Wallace for​ the Swiss National Stage: An Interview with Yana Ross0
Essayistic Ventures in the Wake of Diasporas 10
Festivals in the Pandemic0
Multilingualism on the Berlin Stage: The Influence of Language Choice, Linguistic Access and Opacity on Cultural Diversity and Access in Contemporary Theatre0
Conservative Experiments: Women’s Rewritings of The Imperial Stele Pavilion in the Twenty-First Century0
Playing Real: Mimesis, Media, and Mischief0
To Expand the Possibilities of Performance: Laura Nanni on SummerWorks0
Questions of Presence and Absence: Lessons from the Pandemic0
Kings, Queens, Monsters, and Things: Digital Drag Performance and Queer Moves in Artificial Intelligence (AI)0
Dancing the World Smaller: Staging Globalism in Mid-century America0
Re-readings0
Mitigating Anxieties: Cleaving as Queer Becoming0
Editorial 32.20
Blackness and Self-Imaging: Lorraine O’Grady’s Performance as Mademoiselle Bourgeoise Noire0
Performance, Subjectivity, Cosmopolitanism0
This is My Body: The Queer Messianic Dysphoria of The Pink Supper0
‘It’s Alive’: Towards a Monsterized Theatre with Beatbox Academy’s Frankenstein: How to Make a Monster0
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
Indomitables: From Yeguas del Apocalipsis to Yeguada Latinoamericana0
Backpages 34.30
Staging the Human Remnant in the Anthropocene: Breaking the First Wall in Bruno Latour and Frédérique Aït-Touati’s Inside0
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