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 2022-01-01 to 2026-01-01.)
ArticleCitations
A Text is a Pure Image. Correspondence Around Mapa Teatro6
On Finding the Story and Opening Doors: An Interview with Lolita Chakrabarti3
Heavy Metal Ballet3
TransMission: Sissy TV2
Sixteen Things We Learned about Programming for Film Festivals under COVID2
‘My Name is Janez Janša’: The Curious Reiteration of the Slovenian Prime Minister2
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
On the Edge: Straddling (Anti)normativity in Queer Performance1
‘Why Was I Born Among Mirrors?’: Hyper-(In)visibility in Simon Stone’s Yerma1
Theatre in Market Economies0
The Węgajty Theatre: From Collectivity to Participation0
Backpages 35.10
The Importance of Congregation0
Editorial 32.10
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
Essential Work: Eastern European Immigrants and Models of Participation0
Indian Theatre in the time of Covid a Conversation Between Bishnupriya Dutt, Anuradha Kapur, and Tony Fisher0
Backpages 34.40
Theater in a Post-Truth World: Texts, Politics, and Performance0
Moore to Theatre Past: Queer Historiography and the Partnership of John Henry Moore and Jim Haynes as Foundational to British Alternative Performance Practices0
Cronies, Cliques and Lovers: Queer Friendship as Anti-Institutional Practice in UK Live Art Festivals0
Questions of Presence and Absence: Lessons from the Pandemic0
The Power of Disruption: The Future Is Creatively Vibrant at Te Ahurei Toi o Tāmaki (Auckland Arts Festival)0
Introduction: Simon Stone and Company0
Blackness and Self-Imaging: Lorraine O’Grady’s Performance as Mademoiselle Bourgeoise Noire0
The Decolonial Labour and the Gift of Contemporary Sámi Performance0
Sonic Spectral Summoning0
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
Who Cares?: Ethics and Practices of Care and Making Change in Contemporary Queer Performance Production0
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
This is My Body: The Queer Messianic Dysphoria of The Pink Supper0
Backpages 34.10
Translating Simon Stone’s Radical Rewritings into German0
‘Who Cares?’: The Neoliberal Problem of Performing Care in Immersive and Participatory Play0
Funding Theatre in Italy: Critical Scenarios across the Pandemic0
From Facsimiles to Films: Theatre Broadcasting After COVID0
Backpages 33.30
Mitigating Anxieties: Cleaving as Queer Becoming0
Beyond the Happening: Performance Art and the Politics of Communication0
Festivals in the Pandemic0
Backpages 32.10
‘Process is Everything’: Interviewing Simon Stone in 20230
Looking onto the Boulder0
To Expand the Possibilities of Performance: Laura Nanni on SummerWorks0
Staging International Theatre Festivals in Mid-Pandemic Russia: An Interview with Roman Dolzhanskiy0
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
auralia.space, digital platform for Aural/Oral Dramaturgies: Post-Verbatim, Amplified Storytelling and Gig Theatre in the Digital Age0
Ghosts and Jumbies: Decolonial Live Art in Scotland0
Evolving into Chameleons: Survival Strategies for Tampere Theatre Festival during the COVID-19 Pandemic0
The Pandemic as a Game Changer? Programme Planning in German Public Theatre During and After COVID: Why Formats Matter0
Staging Vulnerability: Precarity, Dispossession, and the Limits of Despair0
The Pervasive Real: Virtual Co-Presence in Jordan Tannahill’s YouTube Play rihannaboi950
Backpages 33.1-20
Liberal Lives and Activist Repertoires: Political Performance and Victorian Social ReformLiberal Lives and Activist Repertoires: Political Performance and Victorian Social Reform by0
Hear Tell: Describing, Reporting, Narrating0
‘Isra-Drama: Exposure as Dialogue’0
Performance and the Critique of Resilience in Culture (England, 2004–2020)0
Greek Performing Arts, Onassis Stegi, or How to Rave Against All Odds0
The Apolline, the Dionysiac, and Spectatorship in Punchdrunk’s Masked Performances0
Feeling the Future at Christian End-Time Performances0
Hear-Telling the Chauraasi Archive: Performing Testimony After Trauma0
Regional Theatres as Placemakers: COVID Recovery, Communities of Practice, and Sense of Place0
Slow, Spectacular Labours: Liveness in Contemporary Dance0
British Theatre in Crisis Mode: Recording COVID, Resilience and Rebirth0
Philippine Catholic Festivals during the COVID-19 Pandemic: Performing Live in the ‘New’ Normal0
Decolonising Attention in and through Live Art0
Haunted Taxonomies, Converging Temporalities: Queer Ghosts on the Stages of Istanbul0
LIFT’s Shifts: Concept Touring & Times of Precarity0
Transforming Tradition: The Reform of Chinese Theater in the 1950s and Early 1960s0
Staging the Human Remnant in the Anthropocene: Breaking the First Wall in Bruno Latour and Frédérique Aït-Touati’s Inside0
Theatre Meets Technology and Other Forms of Crisis Management: Reparative Positions, Covidian Love Affairs, Transformations0
Editorial 35.10
Backpages 35.20
On Scent in Theatre Audience Research: Sensory Mining and Olfactory Archives0
Kings, Queens, Monsters, and Things: Digital Drag Performance and Queer Moves in Artificial Intelligence (AI)0
Disability Art is Dead, Long Live Disability Art!: The Sick Crip Disabled Avant-Garde0
Staging Social Distance: Performance Analysis of Theatre in Nigeria Since the COVID-19 Pandemic0
Editorial 33.30
Backpages 32.20
Critical Anachronisms: Wael Shawky’s The Song of Roland: The Arabic Version0
Theatre of Anger: Radical Transnational Performance in Contemporary Berlin by Olivia Landry0
Live Art: Radicalism and Complicity in a Scene of Constraint0
Shakespeare in Cyborg Theatre: Immersive VR Theatre and the Cyborg-Subject0
GIFT: Developing New Communities of Work0
Decolonizing Site-Specific Performance Methodologies: Preliminary Steps0
Micro-Festivals on the Fringe: The OFF d’Avignon in 20200
Displaying the Clothing of Refugees and Migrants: Performing Tragedy and Justice0
Joining a Festival During a Pandemic: Martine Dennewald and Jessie Mill Discuss the Tiohtiá:ke/Montréal-based Festival TransAmériques (FTA)0
Backpages 34.30
On GIFT (Gateshead International Festival of Theatre) 20220
Let it Burn: Smell, Participation, and Solidarity in Travis Alabanza’s Burgerz0
Commodity Trailing Contemporary Performance: Sh!t Theatre’s DollyWould and Selina Thompson’s salt0
Marcia Farquhar and I0
Transnational Queer-Feminist Methodologies in Live Art: Issues of Translation and Representation in Va-Bene Elikem Fiatsi’s Work0
Essayistic Ventures in the Wake of Diasporas 10
Attempts at a Description: Rose English’s Plato’s Chair and the Hear Tell0
MIF Festival 2021 and COVID-190
Sarah Kane’s Theatre of Psychic Life: Theatre, Thought, and Mental Suffering0
‘Silliness and Childishness and Playfulness’: Interviewing Simon Stone in 20130
Theater as Data: Computational Journeys into Theater Research0
Backpages 34.20
Editorial 32.20
Backpages 33.40
Editorial 34.20
The Performing Body of the Škofja Loka Passion Play0
Surviving and Sustaining in Live Art in Birmingham: Toni Lewis and Demi Nandhra in Conversation0
Liyuanxi – Chinese ‘Pear Garden TheatreLiyuanxi – Chinese ‘Pear Garden Theatre’ by Josh StenbergLondon: Methuen Drama, 2022, 174 pp, ISBN 9781350157392 (hardback)0
Backpages 32.3-40
Multilingualism on the Berlin Stage: The Influence of Language Choice, Linguistic Access and Opacity on Cultural Diversity and Access in Contemporary Theatre0
What’s Queer about Queer Performance Now?0
A Self-Indulgent Narcissus : Performing Marxist Humanism as Individualism in the Work of Petr Štembera0
Indomitables: From Yeguas del Apocalipsis to Yeguada Latinoamericana0
Editorial0
‘Live Art Vibes’ in Digital Culture – Affective Performances and Migrant Aesthetics from Eastern Europe0
Festivals in the COVID Age of Crisis0
Building a Muscle: An Interview with Pamela López on Theatre at the Gabriela Mistral Cultural Centre Before, During, and After the COVID-19 Pandemic0
Rethinking Didactic Theatre for a Young Audience0
Theatrical Affordances to Stage the Perceived-Experienced Reality of People with Dementia: Florian Zeller’s Dramaturgy of Porosity in The Father0
Cultural Value in a Time of Crisis: Public Debates and Governmental Discourses in the G7 Nations0
Publics and Their Health: La Grande Manifestive, Aurillac, 20210
Contemporary Catastrophes: 2010s British Climate Crisis Theatre and Performativity0
‘Mr. Blue Sky’ in the West End: Becoming Musical in Our Ladies of Perpetual Succour0
Project Nationalism and Theatre in Contemporary India0
A Dialogue with Walter Meierjohann on Theatre, Installation, and Binaural Sound0
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
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