OOIR: Observatory of International Research

Papers

(The median citation count of Studies in Theatre and Performance 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 2020-03-01 to 2024-03-01.)

Article	Citations
A manifesto to decentre theatre and performance studies	8
Class and the problem of inequality in theatre	6
Feeling working class: affective class identification and its implications for overcoming inequality	6
Becoming civic centred – A case study of the University of Greenwich’s Bathway Theatre based in Woolwich	3
Doing the ecological through performance	3
‘Talking sense’ about art: Evaluation of theatre as a social process	2
Editorial: taking a snapshot of theatre and performance studies	2
Field works: wild experiments for performance research	2
The play of light: rethinking mood lighting in performance	2
Disrupting the hierarchy of knowledge production: the case of documenting social theatre in Palestine	2
Of assemblages, affordances, and actants – or the performer as bodyworld: the case of puppet and material performance	2
Why we still need to talk about class	1
Vulnerability, care and hope in audience research: theatre as a site of struggle for an intergenerational politics	1
The production of taste: ecologies, intersections, implications	1
Include me out: theatre as sites of resistance to right-wing populism in Estonia, the Czech Republic and Hungary	1
(Skin)Aesthetics (First Manifesto)	1
Audience behavior in immersive theatre: an environment-behavior studies analysis of Punchdrunk’s Sleep No More	1
The birth of the ‘cool:’ Marlon Brando and the afro-aesthetics of psychological-realist acting	1
Editorial: Grounds for Re-wor(l)ding	1
Scenographic ‘stuff’: attending to everyday objects in performance (and beyond)	1
Post-anthropocentric Rehearsal Studies. A conceptual framework to account for the social and material mediations in performance-making	1
Performing the paradox: collaboration as intervention in Eis o Homem	1
If/when performance studies came to Singapore: PSi #10 and its ramifications	1
Acta community theatre’s ‘cycle of engagement’ and foundation worker programme: creating pathways into cultural participation and work	1
An act of transgression: performing arts as a subject choice within a coastal area of deprivation	1

Labours of social inclusion: amateur, professional, community theatres	1
From the producer’s perspective: Kayza Rose	1
Preliminary thoughts on the death of the editor	1
White supremacist performance and its refusal: a reflection on the mosque shootings in Christchurch, Aotearoa New Zealand	1
Editorial 43.1	1
From the producer’s perspective: Paul Warwick	1
A conversation about new directions in studies of modernity and theatre	1
A history of robot camp: performing beyond the uncanny valley, from early twentieth-century automata to contemporary science fiction theatre	0
The felt sense of performance: affective meaning at the edge of words	0
Exhibition curation as practice-as-research performance historiography: an incomplete story of audience experience	0
Thecoup de théâtreand the enchanting object of performance	0
WRITING FROM THE _________________	0
Martyr plot and the national founding myth: staging Croatian national identity through amateur performances of a medieval genre	0
Right from the centre: The dramaturgy of right-wing politics in Chris Hannan’sWhat Shadows, Chris Bush’sThe Assassination of Katie Hopkins, and Rob Drummond’sThe Majority	0
The City (Revised)	0
Fragments of Encounters	0
On being a body listening: vocal expression beyond words in Ant Hampton and Britt Hatzius’ this is not my voice speaking and nature theater of Oklahoma life and times - episodes 3 & 4	0
‘He did not go back to the army’: war, patriotism and desertion in Pavel Pryazhko’s The Soldier	0
Borderline society and ‘rebellious mourning’: the case of South Korean feminist activism	0
Performativity and fragmentation in Samuel Beckettʼs That Time	0
Introduction to special issue: artist development: class, diversity and exclusion	0
‘Truth’, technology and transmedial theatre in Europe	0
‘Walking the boundaries’: Lynne Parker’s unpublished version of Federico García Lorca’s La Casa de Bernarda Alba	0
Tragedy since 9/11: reading a world out of joint	0
Summer Cannibals	0
From the producer’s perspective: Yamin Choudury	0
Networked audience participation: the futurity of post-Brexit democracy in One Day, Maybe and Operation Black Antler	0
Beckett, Sade,The Avengers: Patrick Magee and character acting in the 1960s	0
In pursuit of a new theatre: the case of the Malvern festival	0
Correction	0
Making Sense: Part I	0
Horses and Cowboys on the Contemporary American Stage: The Horse as Prop in Sam Shepard’s Kicking a Dead Horse and Sarah Ruhl’s Late: a cowboy song	0
Theatrical performance as a transnational vehicle: David Bergelson’s I Shall Not Die but Live in Mandatory Palestine	0
Editorial (42.2)	0
When Bobby Baker works, she plays: a study of Drawing on a Mother’s Experience and Table Occasion No19	0
Composting Grief: Part I	0
“The messenger has arrived”: the Angel of America as a prophet of intra-action on stage	0
Promoting unity in the modern age through social drama: the performance of Umulumgbe Odo masquerade ritual	0
‘The imagined ecologies of Mary Robinson: or how to see what isn’t really there’	0
Free Bitch - Ongoing … ..	0
National cultural history and transnational political concerns in Rasha Fadhil’sIshtar in Baghdad(2003)	0
On (not) being useful: the art of drifting in Asian contemporary theatre	0
Bring me a Souvenir: performing Herstory on Ayr beach	0
Myth and popular culture: Brough’s Victorian Burlesque Medea as a heterotopic cultural space	0
Editorial	0
Establishing an ecology of practice: a ‘Do It Yourself’ approach to performer training	0
Performance and the Right	0
Making Sense: Part II	0
41.2 Editorial	0
History plays in the twenty-first century: new tools for interpreting the contemporary performance of the past	0

Performing memory and testimony after a national disaster: theSewolmothers inTalking about Her(2016),VEGA(2016), andHis and Her Closet(2016)	0
Weston Jerwood Creative Bursaries: case studies from a decade of supporting the next generation of artists from lower socio-economic backgrounds	0
Reality theatre as a method for social science research: the Vietnamese diaspora in central europe	0
Negotiating cultural exchange. Federico García Lorca on the British stage from the Spanish civil war until the mid-fifties	0
Scenes from Preceding Years	0
Right wing and Street-theatre: from censure to co-option	0
Making Sense: Part III	0
Building theatre, making policy: materiality and cultural democracy at Liverpool’s PurpleDoor	0
The Garden of Dystopian Pleasures	0
Special Interests	0
Dancers as interpreters: the aesthetics and social commentary of Hausa Koroso Dance	0
ANTI – PERFORMANCE AS PRAXIS	0
Theatre practitioners as unionists: art workers in post-independence Zimbabwe’s theatre sector (1980 – 1999)	0
Composting Grief: Part II & III	0
Editorial	0
Palestinian theatre in the West Bank: our human faces	0
Editorial, 43.2	0
The pleasure in moving: drawing the space through flamenco bodies	0
Directorial strategies for enhancing stage presence: When practice- based research meets phenomenology	0
The Qibla—a never-ending story of migration, runaway, and pilgrimage	0
The counter-theatricality of right-wing populist performance	0
Freedom in the margins: experiences from Brazil	0
Oriental fissures in the western canonical structure: Li Shutong and his aesthetical revolution against Chinese theatrical conventions	0
Performance and race: teaching Shakespeare to Saudi students using current events and popular culture	0
Testing scores for performing placestories	0
A poetics of modernity: Indian theatre theory, 1850 to the present	0
Asking the wrong questions: musings on a conversation with Gakire Katese Odile about “Intercultural Theatre”	0