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 2021-11-01 to 2025-11-01.)
ArticleCitations
A Text is a Pure Image. Correspondence Around Mapa Teatro6
On Finding the Story and Opening Doors: An Interview with Lolita Chakrabarti3
TransMission: Sissy TV2
Sixteen Things We Learned about Programming for Film Festivals under COVID2
Heavy Metal Ballet2
‘My Name is Janez Janša’: The Curious Reiteration of the Slovenian Prime Minister2
On the Edge: Straddling (Anti)normativity in Queer Performance1
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
Live Art and Neurotransgression1
‘Entrances’, ‘Exits’ or ‘Nodes’, ‘Edges’, ‘Clusters’?: Simon Stone, & the Director as a ‘Network Subject’1
Performance and the Critique of Resilience in Culture (England, 2004–2020)0
Haunted Taxonomies, Converging Temporalities: Queer Ghosts on the Stages of Istanbul0
Editorial 32.20
MIF Festival 2021 and COVID-190
Shakespeare in Cyborg Theatre: Immersive VR Theatre and the Cyborg-Subject0
Hear-Telling the Chauraasi Archive: Performing Testimony After Trauma0
Kings, Queens, Monsters, and Things: Digital Drag Performance and Queer Moves in Artificial Intelligence (AI)0
Joining a Festival During a Pandemic: Martine Dennewald and Jessie Mill Discuss the Tiohtiá:ke/Montréal-based Festival TransAmériques (FTA)0
Commodity Trailing Contemporary Performance: Sh!t Theatre’s DollyWould and Selina Thompson’s salt0
Moore to Theatre Past: Queer Historiography and the Partnership of John Henry Moore and Jim Haynes as Foundational to British Alternative Performance Practices0
An Irish Perspective on Festival Making in the Context of the COVID-19 Pandemic: The Case of St. Patrick’s Festival0
Backpages 34.10
‘Mr. Blue Sky’ in the West End: Becoming Musical in Our Ladies of Perpetual Succour0
Essayistic Ventures in the Wake of Diasporas 10
Festivals in the Pandemic0
Young People Theatre: From Mental Illness to Gender and Race Discrimination0
Philippine Catholic Festivals during the COVID-19 Pandemic: Performing Live in the ‘New’ Normal0
Blackness and Self-Imaging: Lorraine O’Grady’s Performance as Mademoiselle Bourgeoise Noire0
To Expand the Possibilities of Performance: Laura Nanni on SummerWorks0
Adapting Stig Dagerman’s German Autumn : An Interview with Anna Takanen and Stig Hansén0
Who Cares?: Ethics and Practices of Care and Making Change in Contemporary Queer Performance Production0
Modelling Agency for Characterisation: Applying the Degree of Agency Tool (DoAT) to William Kentridge’s Operated Performing Objects0
Displaying the Clothing of Refugees and Migrants: Performing Tragedy and Justice0
Translating Simon Stone’s Radical Rewritings into German0
Ghosts and Jumbies: Decolonial Live Art in Scotland0
Backpages 32.10
The Importance of Congregation0
Introduction: Simon Stone and Company0
Hear Tell: Describing, Reporting, Narrating0
Sonic Spectral Summoning0
Essential Work: Eastern European Immigrants and Models of Participation0
The Performing Body of the Škofja Loka Passion Play0
The Apolline, the Dionysiac, and Spectatorship in Punchdrunk’s Masked Performances0
This is My Body: The Queer Messianic Dysphoria of The Pink Supper0
Backpages 33.1-20
Slow, Spectacular Labours: Liveness in Contemporary Dance0
Disability Art is Dead, Long Live Disability Art!: The Sick Crip Disabled Avant-Garde0
Sarah Kane’s Theatre of Psychic Life: Theatre, Thought, and Mental Suffering0
Backpages 32.20
Critical Anachronisms: Wael Shawky’s The Song of Roland: The Arabic Version0
A Self-Indulgent Narcissus : Performing Marxist Humanism as Individualism in the Work of Petr Štembera0
Project Nationalism and Theatre in Contemporary India0
Editorial 33.30
Festivals in the COVID Age of Crisis0
Backpages 35.10
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
‘Process is Everything’: Interviewing Simon Stone in 20230
Transforming Tradition: The Reform of Chinese Theater in the 1950s and Early 1960s0
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
Staging International Theatre Festivals in Mid-Pandemic Russia: An Interview with Roman Dolzhanskiy0
Looking onto the Boulder0
Theatre of Anger: Radical Transnational Performance in Contemporary Berlin by Olivia Landry0
Backpages 34.20
Decolonising Attention in and through Live Art0
GIFT: Developing New Communities of Work0
Feeling the Future at Christian End-Time Performances0
Staging the Human Remnant in the Anthropocene: Breaking the First Wall in Bruno Latour and Frédérique Aït-Touati’s Inside0
Liyuanxi – Chinese ‘Pear Garden TheatreLiyuanxi – Chinese ‘Pear Garden Theatre’ by Josh StenbergLondon: Methuen Drama, 2022, 174 pp, ISBN 9781350157392 (hardback)0
Evolving into Chameleons: Survival Strategies for Tampere Theatre Festival during the COVID-19 Pandemic0
On Scent in Theatre Audience Research: Sensory Mining and Olfactory Archives0
Backpages 34.30
Publics and Their Health: La Grande Manifestive, Aurillac, 20210
The Pervasive Real: Virtual Co-Presence in Jordan Tannahill’s YouTube Play rihannaboi950
Backpages 33.30
Attempts at a Description: Rose English’s Plato’s Chair and the Hear Tell0
LIFT’s Shifts: Concept Touring & Times of Precarity0
‘Isra-Drama: Exposure as Dialogue’0
Let it Burn: Smell, Participation, and Solidarity in Travis Alabanza’s Burgerz0
Theater as Data: Computational Journeys into Theater Research0
Editorial 35.10
Transnational Queer-Feminist Methodologies in Live Art: Issues of Translation and Representation in Va-Bene Elikem Fiatsi’s Work0
Backpages 33.40
Beyond the Happening: Performance Art and the Politics of Communication0
Cronies, Cliques and Lovers: Queer Friendship as Anti-Institutional Practice in UK Live Art Festivals0
Rethinking Didactic Theatre for a Young Audience0
‘Silliness and Childishness and Playfulness’: Interviewing Simon Stone in 20130
‘Who Cares?’: The Neoliberal Problem of Performing Care in Immersive and Participatory Play0
auralia.space, digital platform for Aural/Oral Dramaturgies: Post-Verbatim, Amplified Storytelling and Gig Theatre in the Digital Age0
Questions of Presence and Absence: Lessons from the Pandemic0
Mitigating Anxieties: Cleaving as Queer Becoming0
Staging Vulnerability: Precarity, Dispossession, and the Limits of Despair0
Micro-Festivals on the Fringe: The OFF d’Avignon in 20200
Live Art: Radicalism and Complicity in a Scene of Constraint0
Liberal Lives and Activist Repertoires: Political Performance and Victorian Social ReformLiberal Lives and Activist Repertoires: Political Performance and Victorian Social Reform by0
Multilingualism on the Berlin Stage: The Influence of Language Choice, Linguistic Access and Opacity on Cultural Diversity and Access in Contemporary Theatre0
Decolonizing Site-Specific Performance Methodologies: Preliminary Steps0
Backpages 34.40
Contemporary Catastrophes: 2010s British Climate Crisis Theatre and Performativity0
‘Why Was I Born Among Mirrors?’: Hyper-(In)visibility in Simon Stone’s Yerma0
Surviving and Sustaining in Live Art in Birmingham: Toni Lewis and Demi Nandhra in Conversation0
A Dialogue with Walter Meierjohann on Theatre, Installation, and Binaural Sound0
The Węgajty Theatre: From Collectivity to Participation0
What’s Queer about Queer Performance Now?0
Theatre in Market Economies0
The Decolonial Labour and the Gift of Contemporary Sámi Performance0
On GIFT (Gateshead International Festival of Theatre) 20220
‘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
Editorial 34.20
Marcia Farquhar and I0
Theatrical Affordances to Stage the Perceived-Experienced Reality of People with Dementia: Florian Zeller’s Dramaturgy of Porosity in The Father0
Theater in a Post-Truth World: Texts, Politics, and Performance0
Backpages 32.3-40
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
Editorial 32.10
The Power of Disruption: The Future Is Creatively Vibrant at Te Ahurei Toi o Tāmaki (Auckland Arts Festival)0
Indomitables: From Yeguas del Apocalipsis to Yeguada Latinoamericana0
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