Contemporary Theatre Review

Papers
(The TQCC of Contemporary Theatre Review 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 2021-06-01 to 2025-06-01.)
ArticleCitations
No More Masterpieces: Modern Art After Artaud5
Performance Art in the Second Public Sphere: Event-based Art in Late Socialist Europe2
TransMission: Sissy TV2
A Text is a Pure Image. Correspondence Around Mapa Teatro2
Sixteen Things We Learned about Programming for Film Festivals under COVID1
Editorial 34.41
Re-readings1
Playing Dead: The Post-Tragic Impact of Child Actors in Simon Stone’s (2020) and Anne-Louise Sarks and Kate Mulvany’s (2012) Medea1
On the Edge: Straddling (Anti)normativity in Queer Performance1
Live Art and Neurotransgression1
‘My Name is Janez Janša’: The Curious Reiteration of the Slovenian Prime Minister1
‘Entrances’, ‘Exits’ or ‘Nodes’, ‘Edges’, ‘Clusters’?: Simon Stone, & the Director as a ‘Network Subject’1
‘Why Was I Born Among Mirrors?’: Hyper-(In)visibility in Simon Stone’s Yerma1
‘It’s Alive’: Towards a Monsterized Theatre with Beatbox Academy’s Frankenstein: How to Make a Monster0
‘Mr. Blue Sky’ in the West End: Becoming Musical in Our Ladies of Perpetual Succour0
Staging Beckettian Minds: Umwelt and Cartesian Stage Space in Beckett’s Plays0
Staging the Human Remnant in the Anthropocene: Breaking the First Wall in Bruno Latour and Frédérique Aït-Touati’s Inside0
Decolonizing Site-Specific Performance Methodologies: Preliminary Steps0
Looking onto the Boulder0
Translating Simon Stone’s Radical Rewritings into German0
Haunted Taxonomies, Converging Temporalities: Queer Ghosts on the Stages of Istanbul0
The Węgajty Theatre: From Collectivity to Participation0
Editorial 32.20
‘Live Art Vibes’ in Digital Culture – Affective Performances and Migrant Aesthetics from Eastern Europe0
Storying Silenced Queer Narratives: Koleka Putuma’s re-membering and re-memorying of Queer Trauma in No Easter Sunday for Queers (2019)0
MIF Festival 2021 and COVID-190
Commodity Trailing Contemporary Performance: Sh!t Theatre’s DollyWould and Selina Thompson’s salt0
Editorial 33.30
Editorial 32.10
Attempts at a Description: Rose English’s Plato’s Chair and the Hear Tell0
Marcia Farquhar and I0
Transforming Tradition: The Reform of Chinese Theater in the 1950s and Early 1960s0
Let it Burn: Smell, Participation, and Solidarity in Travis Alabanza’s Burgerz0
Transnational Queer-Feminist Methodologies in Live Art: Issues of Translation and Representation in Va-Bene Elikem Fiatsi’s Work0
Slow, Spectacular Labours: Liveness in Contemporary Dance0
Re-Readings0
Essayistic Ventures in the Wake of Diasporas 10
Hear-Telling the Chauraasi Archive: Performing Testimony After Trauma0
Editorial 31.30
Backpages 33.30
Backpages 33.40
Evolving into Chameleons: Survival Strategies for Tampere Theatre Festival during the COVID-19 Pandemic0
Conservative Experiments: Women’s Rewritings of The Imperial Stele Pavilion in the Twenty-First Century0
A Self-Indulgent Narcissus : Performing Marxist Humanism as Individualism in the Work of Petr Štembera0
Rethinking Didactic Theatre for a Young Audience0
auralia.space, digital platform for Aural/Oral Dramaturgies: Post-Verbatim, Amplified Storytelling and Gig Theatre in the Digital Age0
Festivals in the Pandemic0
‘Who Cares?’: The Neoliberal Problem of Performing Care in Immersive and Participatory Play0
Publics and Their Health: La Grande Manifestive, Aurillac, 20210
Philippine Catholic Festivals during the COVID-19 Pandemic: Performing Live in the ‘New’ Normal0
To Expand the Possibilities of Performance: Laura Nanni on SummerWorks0
Abstracts0
This is My Body: The Queer Messianic Dysphoria of The Pink Supper0
Blackness and Self-Imaging: Lorraine O’Grady’s Performance as Mademoiselle Bourgeoise Noire0
Playing Slaughter: On Staging Animal Deaths and Entangling Art with Life0
Backpages 34.10
Indomitables: From Yeguas del Apocalipsis to Yeguada Latinoamericana0
Decolonising Attention in and through Live Art0
Dancing the World Smaller: Staging Globalism in Mid-century America0
Performance, Subjectivity, Cosmopolitanism0
Critical Anachronisms: Wael Shawky’s The Song of Roland: The Arabic Version0
What’s Queer about Queer Performance Now?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
‘Silliness and Childishness and Playfulness’: Interviewing Simon Stone in 20130
On Scent in Theatre Audience Research: Sensory Mining and Olfactory Archives0
Adapting​ David Foster Wallace for​ the Swiss National Stage: An Interview with Yana Ross0
Feeling the Future at Christian End-Time Performances0
Joining a Festival During a Pandemic: Martine Dennewald and Jessie Mill Discuss the Tiohtiá:ke/Montréal-based Festival TransAmériques (FTA)0
Cronies, Cliques and Lovers: Queer Friendship as Anti-Institutional Practice in UK Live Art Festivals0
Ghosts and Jumbies: Decolonial Live Art in Scotland0
‘Isra-Drama: Exposure as Dialogue’0
Staging Vulnerability: Precarity, Dispossession, and the Limits of Despair0
Theatrical Affordances to Stage the Perceived-Experienced Reality of People with Dementia: Florian Zeller’s Dramaturgy of Porosity in The Father0
Backpages 31.30
Theater in a Post-Truth World: Texts, Politics, and Performance0
Backpages 32.20
Liberal Lives and Activist Repertoires: Political Performance and Victorian Social ReformLiberal Lives and Activist Repertoires: Political Performance and Victorian Social Reform by0
Performance and the Critique of Resilience in Culture (England, 2004–2020)0
Theater as Data: Computational Journeys into Theater Research0
A Conversation about Fortune With Simon Stephens, Sean Holmes, Paul Wills, and Atsuro Hirota0
Backpages 34.20
Share Your Work: Lola Arias’s Lecture Performance Series and the Artistic Cognitariat of the Global Pandemic0
The Importance of Congregation0
Multilingualism on the Berlin Stage: The Influence of Language Choice, Linguistic Access and Opacity on Cultural Diversity and Access in Contemporary Theatre0
Performing Specimens: Contemporary Performance and Biomedical Display0
Notes on Contributors0
Notes on Contributors0
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 0
Micro-Festivals on the Fringe: The OFF d’Avignon in 20200
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
Shakespeare’s Accents: Voicing Identity in Performance0
Kings, Queens, Monsters, and Things: Digital Drag Performance and Queer Moves in Artificial Intelligence (AI)0
LIFT’s Shifts: Concept Touring & Times of Precarity0
‘Brecht in Practice’: Critical Reflections on Staging Drama Dialectically0
GIFT: Developing New Communities of Work0
Mitigating Anxieties: Cleaving as Queer Becoming0
Editorial 34.20
A Story that Happens: On Playwriting, Childhood & Other Traumas0
Backpages 31.40
Live Art: Radicalism and Complicity in a Scene of Constraint0
Disability Art is Dead, Long Live Disability Art!: The Sick Crip Disabled Avant-Garde0
Surviving and Sustaining in Live Art in Birmingham: Toni Lewis and Demi Nandhra in Conversation0
Theatre in Market Economies0
Staging International Theatre Festivals in Mid-Pandemic Russia: An Interview with Roman Dolzhanskiy0
Beyond the Happening: Performance Art and the Politics of Communication0
Who Cares?: Ethics and Practices of Care and Making Change in Contemporary Queer Performance Production0
Immigration Infrastructure Theatricalised in Illegalised and The Claim0
Shakespeare in Cyborg Theatre: Immersive VR Theatre and the Cyborg-Subject0
Editorial 31.40
Hear Tell: Describing, Reporting, Narrating0
Moore to Theatre Past: Queer Historiography and the Partnership of John Henry Moore and Jim Haynes as Foundational to British Alternative Performance Practices0
Project Nationalism and Theatre in Contemporary India0
Colour-blind Casting in Twenty-First Century British Theatre: Colourism, Racism, and the Representation of Black People on Stage0
Backpages 34.30
Essential Work: Eastern European Immigrants and Models of Participation0
Towards an Eighth Fire Approach: Developing Modes of Indigenous-Settler Performance-Making on Turtle Island0
The Performing Body of the Škofja Loka Passion Play0
Backpages 33.1-20
The Apolline, the Dionysiac, and Spectatorship in Punchdrunk’s Masked Performances0
The Pervasive Real: Virtual Co-Presence in Jordan Tannahill’s YouTube Play rihannaboi950
An Irish Perspective on Festival Making in the Context of the COVID-19 Pandemic: The Case of St. Patrick’s Festival0
Sarah Kane’s Theatre of Psychic Life: Theatre, Thought, and Mental Suffering0
The Power of Disruption: The Future Is Creatively Vibrant at Te Ahurei Toi o Tāmaki (Auckland Arts Festival)0
Introduction: Simon Stone and Company0
ReWild(e)ing Queer Performance0
On GIFT (Gateshead International Festival of Theatre) 20220
Backpages 34.40
Women in Performance: Repurposing Failure0
Liyuanxi – Chinese ‘Pear Garden TheatreLiyuanxi – Chinese ‘Pear Garden Theatre’ by Josh StenbergLondon: Methuen Drama, 2022, 174 pp, ISBN 9781350157392 (hardback)0
Questions of Presence and Absence: Lessons from the Pandemic0
Theatre of Anger: Radical Transnational Performance in Contemporary Berlin by Olivia Landry0
Playing Real: Mimesis, Media, and Mischief0
The Decolonial Labour and the Gift of Contemporary Sámi Performance0
Backpages 32.10
Contemporary Catastrophes: 2010s British Climate Crisis Theatre and Performativity0
Festivals in the COVID Age of Crisis0
Backpages 32.3-40
Power, Perception, and Professionalism: An Empirical Study of Digital Theatre Criticism in Canada0
A Dialogue with Walter Meierjohann on Theatre, Installation, and Binaural Sound0
‘Process is Everything’: Interviewing Simon Stone in 20230
Sonic Spectral Summoning0
Abstracts0
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