OOIR: Observatory of International Research

Papers

(The TQCC of Studies in Theatre and Performance 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 2021-04-01 to 2025-04-01.)

Article	Citations
41.2 Editorial	1
Hyper-femininity as radical resistance: re-envisaging the starlet through a feminist practice of solidarity in It’s Sophie! (2018)	1
Narratives of home or failure: the impact of artists and site-specific artworks in communities	1
Preliminary thoughts on the death of the editor	1
Editorial, 43.2	1
Directorial strategies for enhancing stage presence: When practice- based research meets phenomenology	1
The cycleborg : everyday performances of solidarity and hope of the cycling female	1
‘Truth’, technology and transmedial theatre in Europe	1
Post-anthropocentric Rehearsal Studies. A conceptual framework to account for the social and material mediations in performance-making	1
‘Therapy with My Exotic Self’	1
White supremacist performance and its refusal: a reflection on the mosque shootings in Christchurch, Aotearoa New Zealand	1
Performance and the Right	1
Meaningful agency in participatory performance: a contextual approach	0
Editorial 44.2	0
Building theatre, making policy: materiality and cultural democracy at Liverpool’s PurpleDoor	0
Composting Grief: Part II & III	0
Editorial: seeking solidarity and wonder through performance	0
‘Me and the Sky’: smashing the glass ceiling in Come from Away , neoliberal feminism, and climate change	0
A conversation about new directions in studies of modernity and theatre	0
Sites of multiplicity: anarchiving, feminism, and performance	0
The body as territory: a movement perspective	0
Scenographic ‘stuff’: attending to everyday objects in performance (and beyond)	0
Solidarity and cannibalism: anthropophagic actions as a devising process in contemporary dance training	0
Editorial (42.2)	0
Divorced, beheaded, defied: solidarity in individual and collective herstories in SIX the Musical (2017)	0

Before solidarity: the process politics of relationality, receptivity, and attunement	0
Performativity and fragmentation in Samuel Beckettʼs That Time	0
Editorial	0
Irish rebellion in-yer-face or consigned to history: Seán O’Casey’s The Plough and the Stars in 2016	0
‘Walking the boundaries’: Lynne Parker’s unpublished version of Federico García Lorca’sLa Casa de Bernarda Alba	0
Walking as performing in the city: dialogues and ethnographic encounters	0
Oil and modern world dramas: from petro-mania to petro-melancholia	0
The Garden of Dystopian Pleasures	0
Summer Cannibals	0
Special Interests	0
Editorial 43.1	0
Hunkering down in the theatre of war: reflections on the interpersonal politics of collective resistance	0
Collective resistance roundtable discussion	0
Making Sense: Part I	0
Theatrical performance as a transnational vehicle: David Bergelson’s I Shall Not Die but Live in Mandatory Palestine	0
Martyr plot and the national founding myth: staging Croatian national identity through amateur performances of a medieval genre	0
Choreographing immersion: encountering borders, difference, and power	0
Crossing and reimagining the South-North border in a heterotopic space	0
Self-authoring feminine Blackness through solo performance	0
History plays in the twenty-first century: new tools for interpreting the contemporary performance of the past	0
In pursuit of a new theatre: the case of the Malvern festival	0
Performance \| Process \| Politics	0
Am I really the only one dancing? Seeking solidarity in wit(h)ness	0
Editorial: Grounds for Re-wor(l)ding	0
Negotiating cultural exchange. Federico García Lorca on the British stage from the Spanish civil war until the mid-fifties	0
Performing memory and testimony after a national disaster: the Sewol mothers in Talking about Her (2016), VEGA	0
If you call for papers, the papers call back at you: some thoughts on CfP and selection processes	0
Decolonisation and solidarity roundtable discussion	0
Scenes from Preceding Years	0
Act(ion)s of solidarity: possibilities of hope and change through art	0
Through the glass wall: architectural insights into the feminist Turkish play On İkinci Ev	0
Making Sense: Part II	0
The pleasure in moving: drawing the space through flamenco bodies	0
Theatre practitioners as unionists: art workers in post-independence Zimbabwe’s theatre sector (1980 – 1999)	0
Right from the centre: The dramaturgy of right-wing politics in Chris Hannan’sWhat Shadows, Chris Bush’sThe Assassination of Katie Hopkins, and Rob Drummond’sThe Majority	0
Networked audience participation: the futurity of post-Brexit democracy in One Day, Maybe and Operation Black Antler	0
‘He did not go back to the army’: war, patriotism and desertion in Pavel Pryazhko’s The Soldier	0
On being a body listening: vocal expression beyond words in Ant Hampton and Britt Hatzius’ this is not my voice speaking and nature theater of Oklahoma li	0
National cultural history and transnational political concerns in Rasha Fadhil’sIshtar in Baghdad(2003)	0
Composting Grief: Part I	0
A history of robot camp: performing beyond the uncanny valley, from early twentieth-century automata to contemporary science fiction theatre	0
Establishing an ecology of practice: a ‘Do It Yourself’ approach to performer training	0
Making Sense: Part III	0
The counter-theatricality of right-wing populist performance	0
Racialized disability-disabled race in contemporary British theatre: pathologizing and prostheticizing blackness in debbie tucker green’s ear for eye (2018)	0
The felt sense of performance: affective meaning at the edge of words	0
Testing scores for performing placestories	0
Dancers as interpreters: the aesthetics and social commentary of Hausa Koroso Dance	0
Decolonisation and contemporary dance	0
Performance and race: teaching Shakespeare to Saudi students using current events and popular culture	0

Free Bitch - Ongoing … ..	0
Editorial	0
Reclaiming the margins: collective resistance and feminist artistic practices in Putin’s Russia	0
“The messenger has arrived”: the Angel of America as a prophet of intra-action on stage	0
Right wing and Street-theatre: from censure to co-option	0
Dance teaching in HE: further thoughts on the possibilities of artistic citizenship for decolonial practice	0
Daughters Opera : an epistemic representation of feminist solidarities	0
Fragments of Encounters	0
Physical solidarity as feeling the feeling	0
Good nights out: a history of popular British theatre since the Second World War	0
Queer communities, friendship, and moments of joy and wonder in Andrew Logan’s Alternative Miss World competition	0
Editorial, Studies in Theatre and Performance 45.1 (March 2025)	0
Correction	0
Reality theatre as a method for social science research: the Vietnamese diaspora in central europe	0
Myth and popular culture: Brough’s Victorian BurlesqueMedeaas a heterotopic cultural space	0
The City (Revised)	0
Audience behavior in immersive theatre: an environment-behavior studies analysis of Punchdrunk’s Sleep No More	0
The Qibla—a never-ending story of migration, runaway, and pilgrimage	0
WRITING FROM THE _________________	0
ANTI – PERFORMANCE AS PRAXIS	0
Exhibition curation as practice-as-research performance historiography: an incomplete story of audience experience	0
(Skin)Aesthetics (First Manifesto)	0
Transition of traditional rod-puppetry and cultural commons: a case study of Satya Narayan Putul Natya Sanstha in Jaynagar, West Bengal	0