OOIR: Observatory of International Research

Papers

(The median citation count of Comparative Drama 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 2021-11-01 to 2025-11-01.)

Article	Citations
'Creating Change Where it Matters the Most': Artistic Directorship and Representation in the London Theatre	2
Introduction: Text & Presentation	2
The Final Curtain: The Art of Dying on Stage by Laurence Senelick (review)	2
Euphoria in Unhappiness: Technology and Revelation in Jennifer Haley's Neighborhood 3: Requisition of Doom and The Nether	1
“It’s only a play”: Ibsen’s A Doll’s House (1879), Adamson’s Wife (2019), and the Relevance of Historical Theatre	1
"Old Words into Something New": David Bowie and Enda Walsh's Lazarus	0
High Rise eState of Mind: Love and Honesty in the Midst of London's Neoliberal Housing Crisis	0
Let the Right One In by Jack Thorne (review)	0
The Drama of Serial Conversion in Early Modern England by Holly Crawford Pickett (review)	0
Staging Haiti in Nineteenth-Century America: Revolution, Race, and Popular Performance by Peter P. Reed (review)	0
"The Isle Is Full of Noises": the Many Tempests of Margaret Atwood's Hag-Seed	0
Making a Play for God: The Sacre Rappresentzioni of Renaissance Florence by Nerida Newbigin	0
Institutionalized Violence and Oppression: Ambiguity, Complicity and Resistance in El Campo and The Conduct of Life	0
“The Bible say”: August Wilson’s Scriptural Improvisation	0
Comedy and Crisis: Pieter Langendijk, the Dutch, and the Speculative Bubbles of 1720 by Joyce Goggin and Frans De Bruyn	0
The Theatre Couple in Early Modern Italy: Self-Fashioning and Mutual Marketing by Serena Laiena (review)	0
'Be Yourself, Inasmuch as it Suits the Job': "Authenticity" in Practice at Berlin's Maxim Gorki and London's Royal Court	0
"The world to me is but a ceaseless storm": Pericles, The Porpoise , and the Resistance of Exile	0
What Kind of Cosmopolitanism? Transplantation and Displacement in the (Re)construction of Theatrical Nationality in Early Twentieth-Century China and Japan	0
Introduction: There's No Place Like London: Theatrical Landscapes of a City in Recovery	0
Scripts of Blackness: Early Modern Performance Culture and the Making of Race by Noémie Ndiaye (review)	0
Lynn Riggs: The Indigenous Plays by Lynn Riggs (review)	0
Kabukuing Shakespeare: Gender Crossings in Takarazuka’s Shakespeare Adaptations	0
Paul Griffiths's let me tell you, Hamlet , and the Intertextual Mode of Literary Adaptation	0
Contributors	0

The Prospero of Wonderland; or, Miranda Carroll, Author of Station Eleven	0
The Theatre of Sa’dallah Wannous: A Critical Study of the Syrian Playwright and Public Intellectual ed. by Sonja Mejcher-Atassi and Robert Myers	0
Communal Justice in Shakespeare's England: Drama, Law, Emotion by Penelope Geng	0
Making Pagans: Theatrical Practice and Comparative Religion in Early Modern England by John Kuhn (review)	0
"Always Be Blossoming": Director Mary Zimmerman in Conversation with Ann M. Shanahan	0
Staging Change: Toward a Theatrical Theory of Activist Performance by Victoria L. Scrimer (review)	0
Transforming Tradition: The Reform of Chinese Theater in the 1950s and Early 1960s by Siyuan Liu	0
Arthur Miller's Suicidology of the Stage: Suicide and Dramatic Form in Death of a Salesman	0
Forty Years On: The Funding Conundrum at The Finborough	0
Bad Blood: Staging Race Between Early Modern England and Spain by Emily Weissbourd (review)	0
Kids at Play: Early Pedagogical Engagement with Shakespeare Through the St. Omers First Folio	0
Revolutionary Stagecraft: Theater, Technology, and Politics in Modern China by Tarryn Li-Min Chun (review)	0
Contributors	0
Measuring Protagonism in Early Modern European Theatre: A Distant Reading of the Character of Sophonisba	0
Longing to Stay Tied: Maggie O'Farrell's Hamnet as a Work of Creative Criticism	0
Macbeth by William Shakespeare (review)	0
The Paracelsan Philosophy and Plot in Romeo and Juliet	0
The Absent Child: Manifesting Transgenerational Environmental Trauma on Stage	0
Stages of Loss: The English Comedians and Their Reception by George Oppitz-Trotman	0
Doing and Undoing: Speaking for Palestinians on the Royal Court Stage	0
Le Théâtre du Soleil: The First Fifty-Five Years by Béatrice Picon-Vallin	0
The Resistible Rise of Isli-Crouch Upon-Thames: New Metropolitanism in New British Drama	0
Shadows of the Enlightenment: Tragic Drama during Europe's Age of Reason ed. by Blair Hoxby	0
Ending, Leaving, Remaining: Young Women and Trauma in Fairview and How I Learned to Drive	0
Staging America: The Artistic Legacy of the Provincetown Players by Jeffery Kennedy (review)	0
Contributors	0
Shakespeare's Essays: Sampling Montaigne from Hamlet to The Tempest by Peter Platt (review)	0
Law as Performance: Theatricality, Spectatorship and the Making of Law in Ancient, Medieval and Early Modern Europe by Julie Stone Peters (review)	0
Shakespeare’s Tragic Art by Rhodri Lewis (review)	0
Hercules and the King of Portugal: Icons of Masculinity and Nation in Calderón’s Spain by Dian Fox	0
Anxious Masculinity in the Drama of Arthur Miller and Beyond: Salesmen, Sluggers and Big Daddies by Claire Gleitman (review)	0
Art Acts: Reframing the White Gaze in Claudia Rankine's The White Card	0
On the Edge of Discomfort: How Clown Training Reduces Stress and Encourages Empathy	0
Acting and the Remains of the Dead: Remembering Polus on Early Modern Stages	0
Contributors	0
Staging the Market Mechanisms of Medieval Mating in Den utro hustru	0
In Memoriam: Clifford O. Davidson: 1932–2024	0
Contributors	0
"Firing her thatch": The Social Construction of a Witch in Dekker, Ford, and Rowley's The Witch of Edmonton	0
Afterword	0
The Interdisciplinary Theatre of Ping Chong: Exploring Curiosity and Otherness Onstage by Yuko Kurahashi (review)	0
Theatres of Feeling: Affect, Performance, and the Eighteenth-Century Stage by Jean I. Marsden	0
Redface: Race, Performance, and Indigeneity by Bethany Hughes (review)	0
Diplomatic, Migrant, Intercultural: Chinese Opera’s Performance Modes in the Contemporary West	0
“Home Away from Home”: Diasporic Consciousness and Everyday Third Places in Tom Murphy’s Conversations on a Homecoming (1985) and Inua Ellams’ Barber Shop Chronicles (2017)	0
Keeping the Violence Out of Sight: Representing Systems of Oppression with Offstage Violence	0
Flexibility, Abstraction, Orthodoxy: The Lehman Trilogy and (the) British Capital	0
Contributors	0
Rita, Sue and #Metoo: The Royal Court Theatre, London, and Liberalism	0
Contributors	0

Shaping Dance Canons: Criticism, Aesthetics, and Equity by Kate Mattingly (review)	0
Pragmatic Liberation and the Politics of Puerto Rican Diasporic Drama by Jon D Rossini (review)	0
Jackie Sibblies Drury's Fairview : Affect in Three Acts	0
Cultures of Witnessing: Law and the York Plays by Emma Lipton (review)	0
"The world's a theatre of theft": Islamic Imposture in Tomkis' Albumazar	0
Introduction: Shakespeare and Contemporary Fiction	0
Why We Return: Repetition and Remembrance in Elliot: A Soldier's Fugue	0
Introduction	0
Theatre of Anger: Radical Transnational Performance in Contemporary Berlin by Olivia Landry	0
Gender and Pilgrimage in The Digby Mary Magdalene	0
Queering The Winter's Tale in Jeanette Winterson's The Gap of Time	0
"This is a Woman's Trip": Adapting Ntozake Shange's for colored girls for Stage and Screen	0
To Remind You Of My Love: London's Love Affair With The American Musical	0
Reinforcing Indigenous Identity: Dramatic Performances of the Trauma of Puya Meithaba	0
Vows, Veils, and Masks: The Performance of Marriage in the Plays of Eugene O'Neill by Beth Wynstra (review)	0
"In this show let me an actor be": Joining in with Doctor Faustus	0
"Only Write the Good Parts": Playwright Lucas Hnath in Conversation with Jay Malarcher	0
Thomas, Lord Cromwell Recontextualized: An Economic Fable in Response to The Merchant of Venice	0
Contributors	0
“I want a bath!”: On the Depth and Limits of Universalist Liquefaction in Sarah Ruhl’s Eurydice	0
From R.U.R. to Westworld: Personal Revolt, Digital Technology, and the Making of a New Robot Ur-text	0
Cocktails with George and Martha: Movies, Marriage, and the Making of Who's Afraid of Virginia Woolf? by Philip Gefter (review)	0
Noël Coward: The Playwright's Craft in a Changing Theatre by Russell Jackson, and: Masquerade: The Lives of Noël Coward by Oliver Soden (review)	0
Living with Shakespeare: Saint Helen's Parish, London, 1593-1598 by Geoffrey Marsh	0
”Simply Sitting in a Chair”: Questioning Representational Practice and Dramatic Convention in Marguerite Duras’s L’Amante anglaise and The Viaducts of Seine-et-Oise	0
From Wilder’s Our Town (1938) to Churchill’s Escaped Alone (2016): Mediatization and the Collapse of the Large Into the Local	0
Rewriting Idolatry: Doctor Faustus and Romeo and Juliet	0
The Perfect Joke: Autopathography and Humor in Sarah Ruhl's The Clean House	0
The Theatre of Anthony Neilson by Trish Reid	0
Cue Tears: On the Act of Crying by Daniel Sack (review)	0
Contributors	0
Theater, War, and Revolution in Eighteenth-Century France and Its Empire by Logan J. Connors (review)	0
Rowdy Carousals: The Bowery Boy on Stage 1848-1913 by J. Chris Westgate (review)	0
Torvald's Question: Italo Svevo and James Joyce Stage Modern Masculinity	0
Decommissioning the Bard: Chloe Gong's These Violent Delights as Anticolonial Edutainment	0
Contributors	0
Shakespeare and Latinidad ed. by Trevor Boffone and Carla Della Gatta	0
Persia in Early Modern English Drama, 1530–1699: The Imagined Empire by Chloë Houston (review)	0
Under the Influence: Adaptation, Adultery, and Acceptance in Anton Chekhov's Uncle Vanya and Ryusuke Hamaguchi's Drive My Car	0