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 2021-09-01 to 2025-09-01.)
ArticleCitations
No More Masterpieces: Modern Art After Artaud6
TransMission: Sissy TV2
A Text is a Pure Image. Correspondence Around Mapa Teatro2
‘My Name is Janez Janša’: The Curious Reiteration of the Slovenian Prime Minister2
Heavy Metal Ballet1
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
Editorial 34.41
Sixteen Things We Learned about Programming for Film Festivals under COVID1
‘Entrances’, ‘Exits’ or ‘Nodes’, ‘Edges’, ‘Clusters’?: Simon Stone, & the Director as a ‘Network Subject’1
Live Art and Neurotransgression1
On Finding the Story and Opening Doors: An Interview with Lolita Chakrabarti1
Re-readings1
‘Why Was I Born Among Mirrors?’: Hyper-(In)visibility in Simon Stone’s Yerma1
Modelling Agency for Characterisation: Applying the Degree of Agency Tool (DoAT) to William Kentridge’s Operated Performing Objects0
Transforming Tradition: The Reform of Chinese Theater in the 1950s and Early 1960s0
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
Haunted Taxonomies, Converging Temporalities: Queer Ghosts on the Stages of Istanbul0
Backpages 34.40
Displaying the Clothing of Refugees and Migrants: Performing Tragedy and Justice0
The Performing Body of the Škofja Loka Passion Play0
Performing Specimens: Contemporary Performance and Biomedical Display0
Joining a Festival During a Pandemic: Martine Dennewald and Jessie Mill Discuss the Tiohtiá:ke/Montréal-based Festival TransAmériques (FTA)0
The Importance of Congregation0
Backpages 33.1-20
Theater in a Post-Truth World: Texts, Politics, and Performance0
Philippine Catholic Festivals during the COVID-19 Pandemic: Performing Live in the ‘New’ Normal0
Essential Work: Eastern European Immigrants and Models of Participation0
Backpages 32.3-40
Theater as Data: Computational Journeys into Theater Research0
Blackness and Self-Imaging: Lorraine O’Grady’s Performance as Mademoiselle Bourgeoise Noire0
MIF Festival 2021 and COVID-190
Sarah Kane’s Theatre of Psychic Life: Theatre, Thought, and Mental Suffering0
Sonic Spectral Summoning0
Backpages 33.40
Surviving and Sustaining in Live Art in Birmingham: Toni Lewis and Demi Nandhra in Conversation0
Backpages 34.20
Rethinking Didactic Theatre for a Young Audience0
Who Cares?: Ethics and Practices of Care and Making Change in Contemporary Queer Performance Production0
Shakespeare’s Accents: Voicing Identity in Performance0
Disability Art is Dead, Long Live Disability Art!: The Sick Crip Disabled Avant-Garde0
Festivals in the COVID Age of Crisis0
Editorial 31.40
Adapting​ David Foster Wallace for​ the Swiss National Stage: An Interview with Yana Ross0
Beyond the Happening: Performance Art and the Politics of Communication0
Backpages 33.30
Festivals in the Pandemic0
Publics and Their Health: La Grande Manifestive, Aurillac, 20210
Mitigating Anxieties: Cleaving as Queer Becoming0
To Expand the Possibilities of Performance: Laura Nanni on SummerWorks0
Project Nationalism and Theatre in Contemporary India0
Young People Theatre: From Mental Illness to Gender and Race Discrimination0
Playing Slaughter: On Staging Animal Deaths and Entangling Art with Life0
Backpages 35.10
Staging International Theatre Festivals in Mid-Pandemic Russia: An Interview with Roman Dolzhanskiy0
Theatre in Market Economies0
An Irish Perspective on Festival Making in the Context of the COVID-19 Pandemic: The Case of St. Patrick’s Festival0
Immigration Infrastructure Theatricalised in Illegalised and The Claim0
Ghosts and Jumbies: Decolonial Live Art in Scotland0
Questions of Presence and Absence: Lessons from the Pandemic0
Evolving into Chameleons: Survival Strategies for Tampere Theatre Festival during the COVID-19 Pandemic0
Let it Burn: Smell, Participation, and Solidarity in Travis Alabanza’s Burgerz0
Storying Silenced Queer Narratives: Koleka Putuma’s re-membering and re-memorying of Queer Trauma in No Easter Sunday for Queers (2019)0
Multilingualism on the Berlin Stage: The Influence of Language Choice, Linguistic Access and Opacity on Cultural Diversity and Access in Contemporary Theatre0
The Pervasive Real: Virtual Co-Presence in Jordan Tannahill’s YouTube Play rihannaboi950
The Decolonial Labour and the Gift of Contemporary Sámi Performance0
The Apolline, the Dionysiac, and Spectatorship in Punchdrunk’s Masked Performances0
Power, Perception, and Professionalism: An Empirical Study of Digital Theatre Criticism in Canada0
Marcia Farquhar and I0
Transnational Queer-Feminist Methodologies in Live Art: Issues of Translation and Representation in Va-Bene Elikem Fiatsi’s Work0
This is My Body: The Queer Messianic Dysphoria of The Pink Supper0
The Power of Disruption: The Future Is Creatively Vibrant at Te Ahurei Toi o Tāmaki (Auckland Arts Festival)0
A Story that Happens: On Playwriting, Childhood & Other Traumas0
Moore to Theatre Past: Queer Historiography and the Partnership of John Henry Moore and Jim Haynes as Foundational to British Alternative Performance Practices0
Cronies, Cliques and Lovers: Queer Friendship as Anti-Institutional Practice in UK Live Art Festivals0
Indomitables: From Yeguas del Apocalipsis to Yeguada Latinoamericana0
Hear Tell: Describing, Reporting, Narrating0
Staging the Human Remnant in the Anthropocene: Breaking the First Wall in Bruno Latour and Frédérique Aït-Touati’s Inside0
Introduction: Simon Stone and Company0
Backpages 32.20
On Scent in Theatre Audience Research: Sensory Mining and Olfactory Archives0
Liberal Lives and Activist Repertoires: Political Performance and Victorian Social ReformLiberal Lives and Activist Repertoires: Political Performance and Victorian Social Reform by0
Staging Beckettian Minds: Umwelt and Cartesian Stage Space in Beckett’s Plays0
Kings, Queens, Monsters, and Things: Digital Drag Performance and Queer Moves in Artificial Intelligence (AI)0
‘Live Art Vibes’ in Digital Culture – Affective Performances and Migrant Aesthetics from Eastern Europe0
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
Looking onto the Boulder0
A Self-Indulgent Narcissus : Performing Marxist Humanism as Individualism in the Work of Petr Štembera0
Shakespeare in Cyborg Theatre: Immersive VR Theatre and the Cyborg-Subject0
‘Process is Everything’: Interviewing Simon Stone in 20230
GIFT: Developing New Communities of Work0
Staging Vulnerability: Precarity, Dispossession, and the Limits of Despair0
Live Art: Radicalism and Complicity in a Scene of Constraint0
Backpages 31.40
Towards an Eighth Fire Approach: Developing Modes of Indigenous-Settler Performance-Making on Turtle Island0
Decolonizing Site-Specific Performance Methodologies: Preliminary Steps0
Liyuanxi – Chinese ‘Pear Garden TheatreLiyuanxi – Chinese ‘Pear Garden Theatre’ by Josh StenbergLondon: Methuen Drama, 2022, 174 pp, ISBN 9781350157392 (hardback)0
Essayistic Ventures in the Wake of Diasporas 10
The Węgajty Theatre: From Collectivity to Participation0
Theatrical Affordances to Stage the Perceived-Experienced Reality of People with Dementia: Florian Zeller’s Dramaturgy of Porosity in The Father0
Backpages 34.30
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
On GIFT (Gateshead International Festival of Theatre) 20220
Editorial 32.10
Attempts at a Description: Rose English’s Plato’s Chair and the Hear Tell0
Editorial 32.20
Notes on Contributors0
LIFT’s Shifts: Concept Touring & Times of Precarity0
Slow, Spectacular Labours: Liveness in Contemporary Dance0
Adapting Stig Dagerman’s German Autumn : An Interview with Anna Takanen and Stig Hansén0
‘Isra-Drama: Exposure as Dialogue’0
Performance and the Critique of Resilience in Culture (England, 2004–2020)0
Editorial 34.20
Share Your Work: Lola Arias’s Lecture Performance Series and the Artistic Cognitariat of the Global Pandemic0
Decolonising Attention in and through Live Art0
Feeling the Future at Christian End-Time Performances0
Hear-Telling the Chauraasi Archive: Performing Testimony After Trauma0
Backpages 34.10
What’s Queer about Queer Performance Now?0
Editorial 33.30
Editorial 35.10
‘Who Cares?’: The Neoliberal Problem of Performing Care in Immersive and Participatory Play0
Translating Simon Stone’s Radical Rewritings into German0
Playing Real: Mimesis, Media, and Mischief0
Critical Anachronisms: Wael Shawky’s The Song of Roland: The Arabic Version0
Backpages 32.10
Theatre of Anger: Radical Transnational Performance in Contemporary Berlin by Olivia Landry0
‘Silliness and Childishness and Playfulness’: Interviewing Simon Stone in 20130
Abstracts0
Contemporary Catastrophes: 2010s British Climate Crisis Theatre and Performativity0
auralia.space, digital platform for Aural/Oral Dramaturgies: Post-Verbatim, Amplified Storytelling and Gig Theatre in the Digital Age0
Micro-Festivals on the Fringe: The OFF d’Avignon in 20200
A Dialogue with Walter Meierjohann on Theatre, Installation, and Binaural Sound0
Commodity Trailing Contemporary Performance: Sh!t Theatre’s DollyWould and Selina Thompson’s salt0
‘Mr. Blue Sky’ in the West End: Becoming Musical in Our Ladies of Perpetual Succour0
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