Contemporary Theatre Review

Article	Citations
Notes on Contributors	17
Adapting​ David Foster Wallace for​ the Swiss National Stage: An Interview with Yana Ross	7
No More Masterpieces: Modern Art After Artaud	3
Editorial 31.4	2
Disorienting Settler-Phenomenology: Architecture Drag and the Dramaturgy of Archive Misalignment	2
Re-Readings	2
Philippine Catholic Festivals during the COVID-19 Pandemic: Performing Live in the ‘New’ Normal	1
Performance, Subjectivity, Cosmopolitanism	1
Hear-Telling the Chauraasi Archive: Performing Testimony After Trauma	1
A Text is a Pure Image. Correspondence Around Mapa Teatro	1
Performance Art in the Second Public Sphere: Event-based Art in Late Socialist Europe	1
‘Mr. Blue Sky’ in the West End: Becoming Musical in Our Ladies of Perpetual Succour	1
Backpages 34.2	1
Transforming Tradition: The Reform of Chinese Theater in the 1950s and Early 1960s	1
An Irish Perspective on Festival Making in the Context of the COVID-19 Pandemic: The Case of St. Patrick’s Festival	1
Liberal Lives and Activist Repertoires: Political Performance and Victorian Social ReformLiberal Lives and Activist Repertoires: Political Performance and Victorian Social Reform by	1
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	1
The Apolline, the Dionysiac, and Spectatorship in Punchdrunk’s Masked Performances	0
Backpages 31.3	0
On GIFT (Gateshead International Festival of Theatre) 2022	0
Backpages 32.1	0
Decolonising Attention in and through Live Art	0
Disability Art is Dead, Long Live Disability Art!: The Sick Crip Disabled Avant-Garde	0
To Expand the Possibilities of Performance: Laura Nanni on SummerWorks	0
TransMission: Sissy TV	0

Festivals in the COVID Age of Crisis	0
‘Brecht in Practice’: Critical Reflections on Staging Drama Dialectically	0
Re-Readings	0
Towards an Eighth Fire Approach: Developing Modes of Indigenous-Settler Performance-Making on Turtle Island	0
Epistemology of the Locker Room: A Queer Glance at the Physical Culture Archive	0
Abstracts	0
Off Sites: Contemporary Performance Beyond Site-specific	0
Live Art: Radicalism and Complicity in a Scene of Constraint	0
Looking onto the Boulder	0
Staging Beckettian Minds: Umwelt and Cartesian Stage Space in Beckett’s Plays	0
Not Yet and Elsewhere: Locating Lesbian Identity in Performance Archives, as Performance Archives	0
Storying Silenced Queer Narratives: Koleka Putuma’s re-membering and re-memorying of Queer Trauma in No Easter Sunday for Queers (2019)	0
Re-readings	0
Editorial 33.3	0
Rethinking Didactic Theatre for a Young Audience	0
auralia.space, digital platform for Aural/Oral Dramaturgies: Post-Verbatim, Amplified Storytelling and Gig Theatre in the Digital Age	0
DARK ROOM. Sleaze and the Queer Archive	0
A Dialogue with Walter Meierjohann on Theatre, Installation, and Binaural Sound	0
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
‘Process is Everything’: Interviewing Simon Stone in 2023	0
Realness & the Digital Archive: South African Drag Online	0
On the Edge: Straddling (Anti)normativity in Queer Performance	0
Playing Dead: The Post-Tragic Impact of Child Actors in Simon Stone’s (2020) and Anne-Louise Sarks and Kate Mulvany’s (2012) Medea	0
Immigration Infrastructure Theatricalised in Illegalised and The Claim	0
Abstracts	0
Editorial 32.2	0
The Decolonial Labour and the Gift of Contemporary Sámi Performance	0
Blackness and Self-Imaging: Lorraine O’Grady’s Performance as Mademoiselle Bourgeoise Noire	0
The Pervasive Real: Virtual Co-Presence in Jordan Tannahill’s YouTube Play rihannaboi95	0
Beyond Broadway: the Pleasure and Promise of Musical Theatre Across America	0
Theatre in Market Economies	0
‘Entrances’, ‘Exits’ or ‘Nodes’, ‘Edges’, ‘Clusters’?: Simon Stone, & the Director as a ‘Network Subject’	0
Performance Practices and the Conflict of Memory in Colombia: Working Towards a ‘Decolonial’ Digital Archive and Epistemological Justice	0
‘Who Cares?’: The Neoliberal Problem of Performing Care in Immersive and Participatory Play	0
Playing Slaughter: On Staging Animal Deaths and Entangling Art with Life	0
Staging International Theatre Festivals in Mid-Pandemic Russia: An Interview with Roman Dolzhanskiy	0
On Scent in Theatre Audience Research: Sensory Mining and Olfactory Archives	0
Playing Real: Mimesis, Media, and Mischief	0
The Importance of Congregation	0
A Conversation about Fortune With Simon Stephens, Sean Holmes, Paul Wills, and Atsuro Hirota	0
Joining a Festival During a Pandemic: Martine Dennewald and Jessie Mill Discuss the Tiohtiá:ke/Montréal-based Festival TransAmériques (FTA)	0
Samuel Beckett in Confinement: The Politics of Closed Space	0
‘Silliness and Childishness and Playfulness’: Interviewing Simon Stone in 2013	0
GIFT: Developing New Communities of Work	0
Sixteen Things We Learned about Programming for Film Festivals under COVID	0
Slow, Spectacular Labours: Liveness in Contemporary Dance	0
Ghosts and Jumbies: Decolonial Live Art in Scotland	0
Questions of Presence and Absence: Lessons from the Pandemic	0
Cronies, Cliques and Lovers: Queer Friendship as Anti-Institutional Practice in UK Live Art Festivals	0
Abstracts	0

Power, Perception, and Professionalism: An Empirical Study of Digital Theatre Criticism in Canada	0
Theatrical Affordances to Stage the Perceived-Experienced Reality of People with Dementia: Florian Zeller’s Dramaturgy of Porosity in The Father	0
Outing Pleasure and Indulgence: Indubala’s Scrapbook and the Red-Light Dances of Calcutta	0
Kings, Queens, Monsters, and Things: Digital Drag Performance and Queer Moves in Artificial Intelligence (AI)	0
The Dark Theatre: A Book About Loss	0
Dancing the Archive Brown, Dancing the Archive Other in Akram Khan’s XENOS (2018)	0
The Power of Disruption: The Future Is Creatively Vibrant at Te Ahurei Toi o Tāmaki (Auckland Arts Festival)	0
Marcia Farquhar and I	0
Notes on Contributors	0
The Węgajty Theatre: From Collectivity to Participation	0
Theater in a Post-Truth World: Texts, Politics, and Performance	0
Essential Work: Eastern European Immigrants and Models of Participation	0
Live Art and Neurotransgression	0
Essayistic Ventures in the Wake of Diasporas 1	0
Commodity Trailing Contemporary Performance: Sh!t Theatre’s DollyWould and Selina Thompson’s salt	0
Hear Tell: Describing, Reporting, Narrating	0
Sonic Spectral Summoning	0
Perpetual Motion: Dance, Digital Cultures, and the Common	0
Translating Simon Stone’s Radical Rewritings into German	0
Introduction: Outing Archives, Archives Outing	0
Dancing the World Smaller: Staging Globalism in Mid-century America	0
Backpages 33.3	0
Backpages 32.2	0
Staging the Human Remnant in the Anthropocene: Breaking the First Wall in Bruno Latour and Frédérique Aït-Touati’s Inside	0
Micro-Festivals on the Fringe: The OFF d’Avignon in 2020	0
Contemporary Catastrophes: 2010s British Climate Crisis Theatre and Performativity	0
Performance and the Critique of Resilience in Culture (England, 2004–2020)	0
Beyond the Happening: Performance Art and the Politics of Communication	0
The Laws of Movement: The Natyashastra as Archive for Indian Classical Dance	0
Black Sheep: Rasheed Araeen, David Medalla, and Reconfigurations of Visibility in the 1970s	0
Let it Burn: Smell, Participation, and Solidarity in Travis Alabanza’s Burgerz	0
Haunted Taxonomies, Converging Temporalities: Queer Ghosts on the Stages of Istanbul	0
Backpages 33.4	0
Theater as Data: Computational Journeys into Theater Research	0
Backpages 31.4	0
Festivals in the Pandemic	0
Attempts at a Description: Rose English’s Plato’s Chair and the Hear Tell	0
Shakespeare in Cyborg Theatre: Immersive VR Theatre and the Cyborg-Subject	0
LIFT’s Shifts: Concept Touring & Times of Precarity	0
Women in Performance: Repurposing Failure	0
Project Nationalism and Theatre in Contemporary India	0
Editorial 31.3	0
Evolving into Chameleons: Survival Strategies for Tampere Theatre Festival during the COVID-19 Pandemic	0
Theatre of Anger: Radical Transnational Performance in Contemporary Berlin by Olivia Landry	0
Surviving and Sustaining in Live Art in Birmingham: Toni Lewis and Demi Nandhra in Conversation	0
Backpages 34.3	0
Backpages 32.3-4	0
‘Live Art Vibes’ in Digital Culture – Affective Performances and Migrant Aesthetics from Eastern Europe	0
Transnational Queer-Feminist Methodologies in Live Art: Issues of Translation and Representation in Va-Bene Elikem Fiatsi’s Work	0
Backpages 33.1-2	0
‘It’s Alive’: Towards a Monsterized Theatre with Beatbox Academy’s Frankenstein: How to Make a Monster	0
Introduction: Simon Stone and Company	0
MIF Festival 2021 and COVID-19	0
Performing Specimens: Contemporary Performance and Biomedical Display	0
Colour-blind Casting in Twenty-First Century British Theatre: Colourism, Racism, and the Representation of Black People on Stage	0
‘Isra-Drama: Exposure as Dialogue’	0
A Self-Indulgent Narcissus : Performing Marxist Humanism as Individualism in the Work of Petr Štembera	0
Shakespeare’s Accents: Voicing Identity in Performance	0
Staying at the Level of Impulses: Queering the Grotowski Archive in Karol Radziszewski’s The Prince	0
Share Your Work: Lola Arias’s Lecture Performance Series and the Artistic Cognitariat of the Global Pandemic	0
‘Why Was I Born Among Mirrors?’: Hyper-(In)visibility in Simon Stone’s Yerma	0
Editorial 34.2	0
Feeling the Future at Christian End-Time Performances	0
Liyuanxi – Chinese ‘Pear Garden TheatreLiyuanxi – Chinese ‘Pear Garden Theatre’ by Josh StenbergLondon: Methuen Drama, 2022, 174 pp, ISBN 9781350157392 (hardback)	0
Who Cares?: Ethics and Practices of Care and Making Change in Contemporary Queer Performance Production	0
This is My Body: The Queer Messianic Dysphoria of The Pink Supper	0
Decolonizing Site-Specific Performance Methodologies: Preliminary Steps	0
Backpages 34.1	0
What’s Queer about Queer Performance Now?	0
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
Holding the Irish Queer Archive: An Interview with Louise Lowe and Lynnette Moran on ANU Productions’ Faultline	0
ReWild(e)ing Queer Performance	0
Critical Anachronisms: Wael Shawky’s The Song of Roland: The Arabic Version	0
Conservative Experiments: Women’s Rewritings of The Imperial Stele Pavilion in the Twenty-First Century	0
Backpages 31.1&2	0
Mitigating Anxieties: Cleaving as Queer Becoming	0
Editorial 32.1	0
Multilingualism on the Berlin Stage: The Influence of Language Choice, Linguistic Access and Opacity on Cultural Diversity and Access in Contemporary Theatre	0
Performing Scottishness: Enactment and National Identities	0
Sarah Kane’s Theatre of Psychic Life: Theatre, Thought, and Mental Suffering	0

A Story that Happens: On Playwriting, Childhood & Other Traumas	0
Notes on Contributors	0
Publics and Their Health: La Grande Manifestive, Aurillac, 2021	0
The Future Stared Back at Us for the First Time: Black Holes Revisited	0