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 2020-11-01 to 2024-11-01.)

Article	Citations
A manifesto to decentre theatre and performance studies	10
Editorial: taking a snapshot of theatre and performance studies	3
Disrupting the hierarchy of knowledge production: the case of documenting social theatre in Palestine	2
Field works: wild experiments for performance research	2
(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
Scenographic ‘stuff’: attending to everyday objects in performance (and beyond)	1
White supremacist performance and its refusal: a reflection on the mosque shootings in Christchurch, Aotearoa New Zealand	1
If/when performance studies came to Singapore: PSi #10 and its ramifications	1
A history of robot camp: performing beyond the uncanny valley, from early twentieth-century automata to contemporary science fiction theatre	1
Editorial: Grounds for Re-wor(l)ding	1
Preliminary thoughts on the death of the editor	1
Post-anthropocentric Rehearsal Studies. A conceptual framework to account for the social and material mediations in performance-making	1
Negotiating cultural exchange. Federico García Lorca on the British stage from the Spanish civil war until the mid-fifties	1
Editorial 43.1	1
A conversation about new directions in studies of modernity and theatre	1
Vulnerability, care and hope in audience research: theatre as a site of struggle for an intergenerational politics	1
Freedom in the margins: experiences from Brazil	0
The City (Revised)	0
‘Therapy with My Exotic Self’	0
Performance \| Process \| Politics	0
‘Walking the boundaries’: Lynne Parker’s unpublished version of Federico García Lorca’sLa Casa de Bernarda Alba	0
The cycleborg : everyday performances of solidarity and hope of the cycling female	0
Collective resistance roundtable discussion	0

Performing memory and testimony after a national disaster: the Sewol mothers in Talking about Her (2016), VEGA	0
Performance and the Right	0
Irish rebellion in-yer-face or consigned to history: Seán O’Casey’s The Plough and the Stars in 2016	0
Reclaiming the margins: collective resistance and feminist artistic practices in Putin’s Russia	0
The Garden of Dystopian Pleasures	0
Am I really the only one dancing? Seeking solidarity in wit(h)ness	0
Scenes from Preceding Years	0
Sites of multiplicity: anarchiving, feminism, and performance	0
Asking the wrong questions: musings on a conversation with Gakire Katese Odile about “Intercultural Theatre”	0
Editorial	0
Martyr plot and the national founding myth: staging Croatian national identity through amateur performances of a medieval genre	0
Physical solidarity as feeling the feeling	0
The felt sense of performance: affective meaning at the edge of words	0
Fragments of Encounters	0
Solidarity and cannibalism: anthropophagic actions as a devising process in contemporary dance training	0
Decolonisation and contemporary dance	0
Borderline society and ‘rebellious mourning’: the case of South Korean feminist activism	0
Establishing an ecology of practice: a ‘Do It Yourself’ approach to performer training	0
Theatre practitioners as unionists: art workers in post-independence Zimbabwe’s theatre sector (1980 – 1999)	0
Summer Cannibals	0
Composting Grief: Part I	0
If you call for papers, the papers call back at you: some thoughts on CfP and selection processes	0
Myth and popular culture: Brough’s Victorian BurlesqueMedeaas a heterotopic cultural space	0
On (not) being useful: the art of drifting in Asian contemporary theatre	0
Editorial, 43.2	0
A poetics of modernity: Indian theatre theory, 1850 to the present	0
History plays in the twenty-first century: new tools for interpreting the contemporary performance of the past	0
Hyper-femininity as radical resistance: re-envisaging the starlet through a feminist practice of solidarity in It’s Sophie! (2018)	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 li	0
Exhibition curation as practice-as-research performance historiography: an incomplete story of audience experience	0
41.2 Editorial	0
Reality theatre as a method for social science research: the Vietnamese diaspora in central europe	0
Hunkering down in the theatre of war: reflections on the interpersonal politics of collective resistance	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
In pursuit of a new theatre: the case of the Malvern festival	0
‘Me and the Sky’: smashing the glass ceiling in Come from Away , neoliberal feminism, and climate change	0
Divorced, beheaded, defied: solidarity in individual and collective herstories in SIX the Musical (2017)	0
Performance and race: teaching Shakespeare to Saudi students using current events and popular culture	0
Daughters Opera : an epistemic representation of feminist solidarities	0
Meaningful agency in participatory performance: a contextual approach	0
Queer communities, friendship, and moments of joy and wonder in Andrew Logan’s Alternative Miss World competition	0
Theatrical performance as a transnational vehicle: David Bergelson’s I Shall Not Die but Live in Mandatory Palestine	0
Free Bitch - Ongoing … ..	0
Performativity and fragmentation in Samuel Beckettʼs That Time	0
Editorial: seeking solidarity and wonder through performance	0
The Qibla—a never-ending story of migration, runaway, and pilgrimage	0
Making Sense: Part III	0
“The messenger has arrived”: the Angel of America as a prophet of intra-action on stage	0
Making Sense: Part II	0
Special Interests	0

Directorial strategies for enhancing stage presence: When practice- based research meets phenomenology	0
Networked audience participation: the futurity of post-Brexit democracy in One Day, Maybe and Operation Black Antler	0
‘He did not go back to the army’: war, patriotism and desertion in Pavel Pryazhko’s The Soldier	0
‘Truth’, technology and transmedial theatre in Europe	0
Correction	0
The body as territory: a movement perspective	0
The counter-theatricality of right-wing populist performance	0
Right wing and Street-theatre: from censure to co-option	0
Building theatre, making policy: materiality and cultural democracy at Liverpool’s PurpleDoor	0
Oriental fissures in the western canonical structure: Li Shutong and his aesthetical revolution against Chinese theatrical conventions	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
Before solidarity: the process politics of relationality, receptivity, and attunement	0
Promoting unity in the modern age through social drama: the performance of Umulumgbe Odo masquerade ritual	0
Making Sense: Part I	0
Testing scores for performing placestories	0
ANTI – PERFORMANCE AS PRAXIS	0
Editorial (42.2)	0
Act(ion)s of solidarity: possibilities of hope and change through art	0
Editorial 44.2	0
Dancers as interpreters: the aesthetics and social commentary of Hausa Koroso Dance	0
Decolonisation and solidarity roundtable discussion	0
Choreographing immersion: encountering borders, difference, and power	0
Composting Grief: Part II & III	0
The pleasure in moving: drawing the space through flamenco bodies	0
Self-authoring feminine Blackness through solo performance	0
National cultural history and transnational political concerns in Rasha Fadhil’sIshtar in Baghdad(2003)	0
WRITING FROM THE _________________	0
Dance teaching in HE: further thoughts on the possibilities of artistic citizenship for decolonial practice	0