OOIR: Observatory of International Research

Papers

(The TQCC 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
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
(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
Solidarity and cannibalism: anthropophagic actions as a devising process in contemporary dance training	0
Fragments of Encounters	0
Establishing an ecology of practice: a ‘Do It Yourself’ approach to performer training	0
Borderline society and ‘rebellious mourning’: the case of South Korean feminist activism	0
Editorial 44.2	0
Summer Cannibals	0
If you call for papers, the papers call back at you: some thoughts on CfP and selection processes	0

Choreographing immersion: encountering borders, difference, and power	0
Myth and popular culture: Brough’s Victorian BurlesqueMedeaas a heterotopic cultural space	0
Editorial, 43.2	0
Self-authoring feminine Blackness through solo performance	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
A poetics of modernity: Indian theatre theory, 1850 to the present	0
WRITING FROM THE _________________	0
Exhibition curation as practice-as-research performance historiography: an incomplete story of audience experience	0
41.2 Editorial	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
Hunkering down in the theatre of war: reflections on the interpersonal politics of collective resistance	0
Reality theatre as a method for social science research: the Vietnamese diaspora in central europe	0
The City (Revised)	0
In pursuit of a new theatre: the case of the Malvern festival	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
Divorced, beheaded, defied: solidarity in individual and collective herstories in SIX the Musical (2017)	0
‘Me and the Sky’: smashing the glass ceiling in Come from Away , neoliberal feminism, and climate change	0
Daughters Opera : an epistemic representation of feminist solidarities	0
Performance and race: teaching Shakespeare to Saudi students using current events and popular culture	0
Queer communities, friendship, and moments of joy and wonder in Andrew Logan’s Alternative Miss World competition	0
Meaningful agency in participatory performance: a contextual approach	0
Performativity and fragmentation in Samuel Beckettʼs That Time	0
Free Bitch - Ongoing … ..	0
The Qibla—a never-ending story of migration, runaway, and pilgrimage	0
“The messenger has arrived”: the Angel of America as a prophet of intra-action on stage	0
The felt sense of performance: affective meaning at the edge of words	0
Making Sense: Part II	0
Directorial strategies for enhancing stage presence: When practice- based research meets phenomenology	0
Decolonisation and contemporary dance	0
Networked audience participation: the futurity of post-Brexit democracy in One Day, Maybe and Operation Black Antler	0
‘Truth’, technology and transmedial theatre in Europe	0
Theatre practitioners as unionists: art workers in post-independence Zimbabwe’s theatre sector (1980 – 1999)	0
The body as territory: a movement perspective	0
The counter-theatricality of right-wing populist performance	0
Correction	0
Composting Grief: Part I	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
Right wing and Street-theatre: from censure to co-option	0
Before solidarity: the process politics of relationality, receptivity, and attunement	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
On (not) being useful: the art of drifting in Asian contemporary theatre	0
Promoting unity in the modern age through social drama: the performance of Umulumgbe Odo masquerade ritual	0
Making Sense: Part I	0
ANTI – PERFORMANCE AS PRAXIS	0
Testing scores for performing placestories	0
Act(ion)s of solidarity: possibilities of hope and change through art	0
Editorial (42.2)	0
Decolonisation and solidarity roundtable discussion	0

Dancers as interpreters: the aesthetics and social commentary of Hausa Koroso Dance	0
The pleasure in moving: drawing the space through flamenco bodies	0
Composting Grief: Part II & III	0
National cultural history and transnational political concerns in Rasha Fadhil’sIshtar in Baghdad(2003)	0
Dance teaching in HE: further thoughts on the possibilities of artistic citizenship for decolonial practice	0
Theatrical performance as a transnational vehicle: David Bergelson’s I Shall Not Die but Live in Mandatory Palestine	0
Freedom in the margins: experiences from Brazil	0
‘Therapy with My Exotic Self’	0
Editorial: seeking solidarity and wonder through performance	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
Performance \| Process \| Politics	0
Making Sense: Part III	0
Performing memory and testimony after a national disaster: the Sewol mothers in Talking about Her (2016), VEGA	0
Performance and the Right	0
Collective resistance roundtable discussion	0
Reclaiming the margins: collective resistance and feminist artistic practices in Putin’s Russia	0
Irish rebellion in-yer-face or consigned to history: Seán O’Casey’s The Plough and the Stars in 2016	0
Special Interests	0
Am I really the only one dancing? Seeking solidarity in wit(h)ness	0
The Garden of Dystopian Pleasures	0
‘He did not go back to the army’: war, patriotism and desertion in Pavel Pryazhko’s The Soldier	0
Sites of multiplicity: anarchiving, feminism, and performance	0
Scenes from Preceding Years	0
Editorial	0
Asking the wrong questions: musings on a conversation with Gakire Katese Odile about “Intercultural Theatre”	0
Physical solidarity as feeling the feeling	0
Martyr plot and the national founding myth: staging Croatian national identity through amateur performances of a medieval genre	0