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Articles

Refugee Perspectives: The Practice and Ethics of Verbatim Theatre and Refugee Stories by Alison Jeffers

The Theatre of the Oppressed: an American Tradition? by Doug Hundley

The Private and the Public Wars: A Play by Martin Crimp by Vicky Angelaki

Both Here and Gone: Polish Individuation in Teatr Piesn Kozla’s Chronicles – A Lamentation by Bryce Lease

A Meta-criticism of Phyllis Nagy’s Reception in London: What do the Critics (Not) Want? by Marissia Fragou

Technique Development and African Dance in the UK: An Interview with Peter Badejo OBE by Kenechukwu Igweonu

Book Reviews

Fabulous Orients: Fictions of the East in England, 1662 – 1785 by Ros Ballaster | Hsin-yun Ou

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Abstracts

Articles

Moving Targets: An “Illogical” Theatre of Resistance in (Pre)Occupied Territory by Ryan Reynolds

Confusing Gender: Strategies for resisting objectification in the work of Split Britches by Emily Underwood

Accusing and Engaging the Audience through Theatreform: Griselda Gambaro's Information for Foreigners by Selena Burns

Antonio or the Message: Bourgeois Conformism and the Dictatorship of the Colonels in Greece (1967-1974) by Philip Hager

Contextualising Reception: Writing about Theatre and National Identity by Marilena Zaroulia

The Literary Artist and Social Cohesion an a Multi-Lingual Setting: A Study Of Ola Rotimi’s If… and Hopes Of The Living Dead by Busuyi Mekusi

Book Reviews

A Beckett Canon by Ruby Cohn | Magda Romanska

Against Theatre: Creative Destructions on the Modernist Stage edited by Alan Ackerman and Martin Puchner | Amy Simpson

Performance and Place edited by Leslie Hill and Helen Paris | Michael Pinchbeck

Here We Stand: Politics, Performers and Performance by Colin Chambers | Vicky Angelaki

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Abstracts

Articles

Translating In? Brian Friel’s Translations in Irish-language Performance by Nóra de Buiteléir

Pumpkin Fruit / Pumpkin Root: Participatory Theatre in a Ugandan Prison by Kevin Bott

Feeling Performance, Remembering Trauma by Patrick Duggan

The Reception of Oscar Wilde and Bernard Shaw in the Light of Early Twentieth-Century Austrian Censorship by Sandra Mayer and Barbara Pfeifer

Small Town Montréal: Critical Preconceptions and the (mis)Interpretation of Michel Tremblay’s Hosanna by Jim Ellison

Book Reviews

Making a Performance: Devising Histories and Contemporary Practices by Emma Govan, Helen Nicholson and Katie Normington | Joanna Bucknell

Film, Drama and the Break-Up of Britain by Steve Blandford | Bryce Lease

Staging Black Feminisms: Identity, Politics, Performance by Lynette Goddard | Marissia Fragou

Ghosts: Death’s Double and the Phenomena of Theatre by Alice Rayner | Rachel Clements

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Articles

Richard Maxwell and the Paradox of Theatre by Theron Schmidt

N.F. Simpson and the "Theatre of the Absurd" by Neema Parvini

Mascots: Performance and Fetishism in Sport Culture by Mary C. Daily

Female Skateboarding: Re-writing Gender by Dani Abulhawa

A Queer Reading of Euripides' Bacchae by Natalia Theodoridou

Ezra Pound's Women of Trachis: Modernist Translation as Performance Text by Stephe Harrop

Book Reviews

Trial: A Study of the Devising Process in Reckless Sleepers' "Schrödinger's Box" by Andrew Brown, Mole Wetherell and Reckless Sleepers | Jane George

Multimedia: Video-Installation-Performance by Nick Kaye | Eirini Nedelkopoulou

African theatres and Performances by Osita Okagbue | Kene Igweonu

Sacred Theatre edited by Ralph Yarrow | Megan Macdonald

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Editorial

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Abstracts

‘Objects of Engagement:’ Conference Response by Roberto Sánchez-Camus, Nesreen Hussein and Grant Tyler Peterson

Articles

The Cabinet of Curiosities: Objects as Compositions by Bernadette Cronin

The Fan of Noh Theatre: Object of Encounter by Diego Pellecchia

The Interactive Object: Undermining the Artist and Empowering the Audience by Mark Flisher

Seeing through the Wall: Objectification between Resistance and Acceptance by Nesreen Hussein

Disturbing Objects: Making, Eating and Watching Food in Popular Culture and Performance Practice by Jenny Lawson

Gentlemen Still Prefer Blondes: The Persistent Presence of Marilyn Monroe Impersonators by Amanda Sue Konkle

Book Reviews

Barbarous Play: Race on the Renaissance Stage by Lara Bovilsky | Victoria E. Price

City Stages: Theatre and Urban Space in a Global City by Michael McKinnie | Philip Hager

Political Theatre in Post-Thatcher Britain: New Writing: 1995-2005 by Amelia Howe Kritzer | Rachel Clements

Performance Response

Hard Work: Robert Lepage’s Lipsynch and the Pleasures of Responsibility by James Reynolds

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Abstracts

Articles

Dialectical images of femininity by Kerstin Bueschges

Family Roles and Paternal/Maternal Genealogies within and between Psychophysical Performer Trainings and their Documentation by Alissa Clarke

Articulating the abject: Metamorphosis in Marina Carr’s The Mai by Shonagh Hill

Little (White) Women: Locating Whiteness in (De)constructions of the American Female from Alcott to Split Britches by Courtney Elkin Mohler

Unconventional Femininity in the work of Suzan-Lori Parks and Marina Carr by Siobhán O’Gorman

Staging Humanity in Cranberry: The Human Revelation of Joan Crawford by Matt Saltzberg

Book Reviews

Reasoning Madness: The Reception and Performance of Euripides’ Herakles by Kathleen Riley | Stephe Harrop

The Male Dancer: Bodies, Spectacle, Sexualities by Ramsay Burt | Grant Tyler Peterson

Performance Practice and Process: Contemporary [Women] Practitioners by Elaine Aston and Geraldine Harris | Amanda Bolt

American Puppet Modernism: Essays on the Material World in Performance by John Bell | Alissa Mello

Choreographing the Folk: The Dance Stagings of Zora Neale Hurston by Anthea Kraut | Sarahleigh Castelyn

Performance Response

‘Tell her it’s serious:’ Caryl Churchill’s Seven Jewish Children: A Play for Gaza at the Royal Court Theatre by Kate Leader

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Abstracts

Articles

A Cosmopolite’s Utopia: Limitations to the Generational Flemish Dance History Model by Lise Uytterhoeven

Theatre for Survival: Language and Cultural Preservation in the work of the Ladino Players by Mara Lockowandt

‘If Music Be the Food of Love’: An Acoustic ‘Fourth World’ in Ong Keng Sen’s Awaking by Marcus Cheng Chye Tan

‘Which Country Should I Love?’ Portrait of the Families by Cloud Gate Dance Theatre of Taiwan by Ching-yi Huang

Mika’s haka in Mika HAKA: Performing as the ‘Other’ by Mark Hamilton

Book Reviews

Bringing Down The House: The Crisis in Britain's Regional Theatres by Olivia Turnbull | Eleanor Paremain

Theatre and Globalization: Irish Drama in the Celtic Tiger Era by Patrick Lonergan | Emer O'Toole

Performance Response

'The integrity of the whole': Atelier Brancusi (Pompidou Centre, Paris, 2007-2010) by Georgina Guy

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Articles

From ‘Sorry Sorry’ to ‘That Banana’: the Subtitling of a Korean Music Video as a Site of Contestation in Taiwan by Chih-Chieh Liu (University of Surrey) 

Real Beauty Doesn’t Have To Try Like That: How I Got to Transform Cost into Value by Stephen Robins (University of Bristol)

Minutiae, Mysteries and Magic: A Conversation with Little Bulb Theatre Company by Emer O'Toole (Royal Holloway, University of London)

A Textual Analysis of Martin Crimp’s Adaptation of Anton Chekhov’s The Seagull: The Importance of Testimony and Relationship by Clara Escoda (University of Barcelona)

Eye-Height: A Project in Pictures by Beatriz Cantinho (Edinburgh College of Art)

Moving Uncertainties: Negotiating ‘Theatre in Movement’ and Field-work Research in the French Context by Eugénie Pastor (Royal Holloway, University of London)

When the Body Becomes Too Much: Writing on Becoming-locust and the Spectacle of Theory by Paul Hurley (Independent Scholar)

The Strokes: A Verse Drama in One Act by Christopher O’Shaughnessy (Royal Holloway, University of London)

Book Reviews

Crossroads: Performance Studies and Irish Culture ed. by Sara Brady and Fintan Walsh | Shonagh Hill (Queen’s University Belfast)

Fictional Thinking: A Poetics and Rhetoric of Fictional Creativity in Theatre by Eli Rozik | Karen Quigley (King's College, University of London)

Theatre & the Body by Colette Conroy | Nicholas Hamilton (University of Westminster)

Naming Theatre: Demonstrative Diagnosis in Performance Studies by James Frieze | Styliana Keramida (Royal Holloway, University of London)

Applied Theatre: International Case Studies and Challenges for Practice by Monica Prendergast and Juliana Saxton | Sofia Apospori (Royal Holloway, University of London)

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Articles

Space and Festivalscapes by Jorje Perez Falconi (Royal Holloway, University of London)

‘Here on the Edge’: Community-Building Theatre During World War II by Andrew Ryder (Seattle Pacific University)

One Acts: Reductive Performances Make a Difference by Yelena Gluzman (Tokyo University)

An AfroReggae Explosion: Reimagining the Value of Quality, Profit and the Global Market in the Development of Applied Performance by Poppy Spowage (Queen Mary, University of London)

‘The Work is the Fix’: An Email Conversation with Darren O’Donnell, Artistic Director of Mammalian Diving Reflex by Liam Jarvis (Royal Holloway, University of London)

The Brazilian Favela as Stage and Persona and the Challenge of an Alternative-Narrative by Marina Henriques Coutinho (Federal University of the State of Rio de Janeiro)

Keeping Memory Afloat: Little John Nee’s The Derry Boat by Beth Phillips (National University of Ireland, Galway)

Book Reviews

Theatre and Sexuality by Jill Dolan | Matt Fox (Royal Holloway, University of London)

On Directing and Dramaturgy: Burning the House by Eugenio Barba | Stella Keramida (Royal Holloway, University of London)

The Charismatic Chameleon: The Actor as Creative Artist by Leslie O’Dell | Eugénie Pastor (Royal Holloway, University of London)

Drama as Therapy: Clinical Work and Research into Practice (Volume 2) ed. by Phil Jones | Peggy Shannon (Royal Holloway, University of London)

Movement Training for the Modern Actor by Mark Evans | Konstantinos Thomaidis (Royal Holloway, University of London)

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Articles

Intermedial Voices: Documentary Theatre and the Refugee Experience in Version 1.0’s CMI (A Certain Maritime Incident) by Rand Hazou (La Trobe University)

Diegetic Theatre as a ‘Place’ for the Theatricalised Spectator by Jane Turner (Manchester Metropolitan University)

‘What’s Wrong with this Play?’: Workshops, Audiences, and Horizons of Expectations by John Patrick Bray (University of Georgia)

Artists’ Documents: Reflections on Participation

Witness: Notes from the Artist by Allison Wyper (University of California, Los Angeles)

Emancipating the Spectator: Participation in Performance by Astrid Breel (University of Bristol)

Book Reviews

Social Works: Performing Art, Supporting Publics by Shannon Jackson | Poppy Spowage (People's Palace Projects)

Voice Onstage and Off, 2nd Ed. by Robert Barton and Rocco Dal Verra | Konstantinos Thomaidis (Royal Holloway, University of London)

Performance Theatre and the Poetics of Failure: Forced Entertainment, Goat Island, Elevator Repair Service by Sara Jane Bailes | Karen Quigley (University of Chester)

William Forsythe and the Practice of Choreography: It Starts From Any Point edited by Steven Spier | Tamara Tomic-Vajagic (University of Roehampton)

Theatre & Feeling by Erin Hurley | Clara Escoda (University of Barcelona)

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Editorial

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Articles

Tim Crouch and Dan Rebellato in Conversation edited by Louise LePage

Tearing and Wearing the Skin by Yu-Chien Wu

Prosthetics Imagery: Negotiating the Identity of Enhanced Bodies by Maria Neicu

The Duality of Heroic Identity in Fielding's Tom Thumb by Máire MacNeill

Multiplied Trajectories: A Traveller's Dinner by Molly Beth Seremet

Becoming Annot: Identity Through Clown by Anne-Pauline van der A

Book Reviews

Shakespeare, Trauma and Contemporary Performance by Catherine Silverstone | Charlotte Keys

Disaster Capitalism; Or Money Can’t Buy You Love: Three Plays by Rick Mitchell | Melina Theocharidou

Puppetry: A Reader in Theatre Practice by Penny Francis | Jeremy Bidgood

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Articles

Absent Friends: Edward Bond’s Corporeal Ghosts by James Hudson

Corporeality and Subversion in Post-Renaissance Italy: The Inquisition and the Commedia dell’Arte by Matt Cawson

The Performance of Biopower and Liveliness: The Life and Death of Terri Schiavo by Renée Newman-Storen

Forum Theatre, Disability and Corporeality: A Project on Sexuality in Zimbabwe by Nehemia Chivandikwa and Ngonidzashe Muwonwa

‘Try to follow the sound of my footsteps...’: Walking and the Theatricality of Imaginative Geographies in Janet Cardiff’s The Missing Voice (Case Study B) by Jane Frances Dunlop

Book Reviews

Modern British Playwriting: The 1990s  by Aleks Sierz | Louise LePage

Modern British Playwriting: The 1970s  by Chris Megson | Christopher O’Shaughnessy

An Introduction to Theatre Design  by Stephen Di Benedetto | Mark Swetz

Good Luck Everybody: Lone Twin – Journeys, Performances, Conversations by David Williams and Carl Lavery | Anna Sereni

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Articles

Child's Play: A Postdramatic Theatre of Paidia for the Very Young by Ben Fletcher-Watson

Post-Relational Paranoid Play in Reactor's Big Lizard's Big Idea Project by Daniel Oliver 

Towards an Anarchist Theatre by Matt Cawson

Play Area: Performance Perspectives - short discussions including:

Heuristic Word-Play and the Multiple Meanings of 'Coffee' by Shaun May

On the Injunction 'Enjoy' by Adam Alston

On Play: Public Engagement by Charlotte Bell

Play Walking by Kris Darby

Metaphor, Mud and Melancholy: Ostermeier's Hamlet in Translation by Geraldine Brodie

A 'Thickly' Smoked Moment in Time by Karen da Silva

'VALERIO! VALERIO! VALERIO...' by Liam Jarvis

The Aristocracy at Play in the Nineteenth Century by David Coates

Playing with Words by Deborah Leveroy

Book Reviews

The Methuen Drama Book of Post-Black Plays by Harry J. Elam Jr. and Douglas A. Jones, Jr. Eds. | Pepetual Mforbe

West End Broadway: The Golden Age of the American Musical in London by Adrian Wright Woodbridge | Adam Rush

The Plays of Samuel Beckett by Katherine Weiss | Macarena Andrews Barraza

Movement Training for Actors by Jackie Snow | Bryan Brown

Theatres of Immanence: Deleuze and the Ethics of Performance by Laura Cull | Nik Wakefield

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Editorial

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Articles

Thoughts on Performance Legacies by Sean Aita

Storied Space: Epistemology and Place in the Performance Museum by Ella Parry-Davies

Performance Legacies in Print and Practice: High Performance Magazine, 1978-1983 by Harriet Curtis

Merz Merz Merz Merz: Performing the Remains of Mr. Kurt Schwitters by Penny Newell

Dematerialised Political and Theatrical Legacies: Rethinking the Roots and Influences of Tim Crouch's Work by Cristina Delgado-Garcia

Dynasty, Memory and Terry: Curating the 1896 Cymbeline by Sophie Duncan

Book Reviews

Theatre-Making: Interplay Between Text and Performance inthe 21st Century by Duska Radosavljavic | Mark Smith

Acts and Apparitions: Discourses on the Real in Performance Practice and Theory, 1990-2010 by Liz Tomlin | Catherine Love

Modern British Playwriting: The 1950s by David Pattie | Christopher O'Shaughnessy

Modern British Playwriting: 2000-2009 ed. Dan Rebellato | Catriona Fallow

Correction: Due to an printing error, the name of one our contributors for this issue, Cristina Delgado-Garcia, has been misspelled. We have now made the appropriate corrections. We apologise for the error.

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Is There Any-body on Stage? A Legal (mis)Understanding of Performances by Mathilde Pavis

Writing Red: The Politics of Creativity by Christopher O'Shaughnessy

The Political Body in New Circus and Contemporary Circus Arts: Embodied Protest, Materiality, and Active Spectatorship by Katie Lavers

Self-Definition, Name Calling, and the Limits of Language: Examining the Economics of Arts Council England, 1996/97-2012/13 by Joe Mcloughlin

Book Reviews

PostDramatic Theatre and the Political: International Perspectives on Contemporary Peformance edited by Karen Jurs-Munby, Jerome Carroll, and Steve Giles | Sam Haddow

Performance Studies in Motion: International Perspectives and Practices in the Twenty-First Century edited by Atay Citron, Sharon Aronson-Lehavi, and David Zerbib | Benjamin Fowler

Fair Play: Art, Performance and Neoliberalism by Jen Harvie | Matthew Midgley

The Feminist Spectator in Action: Feminist Criticism for the Stage and Screen by Jill Dolan | Stephanie Tillotson

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Articles

Dramaturgies of the Naked Skin: Homo Nudus Plays Sexuality by Judita Vivas

How We Read Bodies: An Interview with Chris Goode in Conversation with Catherine Love by Chris Goode and Catherine Love

Getting a Rise out of ASCENDING PERFORMANCE: An Interview with Dani Ploeger in Conversation with Will Shüler by Dr Dani Ploeger and Will Shüler

Book Reviews

Affective Performance and Cognitive Science: Body Brain and Being edited by Nicola Shaughnessy | Jessica Beck

Worlds Bodies Matters: Theatre of the Late Twentieth Century by Valentina Valentini | Cara Berger

Performance and Community: Commentary and Case Studies by Caoimhe McAvinchey | Julie Rada

Creating Musical Theatre: Conversations with Broadway Directors and Choreographers by Lyn Cramer | Adam Rush

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Articles

An Atmosphere of Entropy by Cara Berger

Interrogating Begali Youth's Performance of Place Through Emplacement and Mobility by Canan Salih

The Path to CauseWay: Developing a Feminist Site-Specific Performance Practice at the Robert Burns Birthplace by Victoria Bianchi

Aspects of Landscape Politics in KA MOUNTAIN AND GUARDenia TERRACE: a story about a family and some people changing by Robert Wilson and the Byrd Hoffman School of Byrds by Matthew Bent

Trace 100: The Day our World Changed by Elizabeth Bennett

Book Reviews

Royal Court: International by Elaine Aston and Mark O'Thomas | Nicholas Holden

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Editorial

Contributors

Articles

Tim Crouch’s Transferable Skills: Textual Revision as Distributed Determination in My Arm and The Author by Jack Belloli

“That Space”: Across Text and Performance in Suspect Culture’s One Way Street by Verónica Rodríguez 

Dramaturgies of Spontaniety by Filippo Romanell 

Celebrating Ten Years of Platform 

Book Reviews

Howard Barker’s Theatre: Wrestling with Catastrophe edited by James Reynolds and Andy Smith | Richard Ashby (Royal Holloway, University of London)

A Good Night Out for the Girls: Popular Feminisms in Contemporary Theatre and Performance by Elaine Aston and Geraldine Harris | Cath Badham (University of Sheffield)

The Illuminated Theatre: Studies on the Suffering of Images by Joe Kelleher | Marina Ní Dhubháin (National University of Ireland)

Voice and New Writing 1997-2007: Articulating the Demos by Maggie Inchley | Lucy Tyler (University of Reading)

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Articles

Obama's Tears: Politics, Performance and the Crisis of Belief by Julia Peetz

On Edward Bond’s Dramaturgy of Crisis in The Chair Plays: The Dystopian Imagination and the Imagination in Dystopia by Chien-Cheng Chen

Crossing Contested Borders: Quid pro quo (2011) – a performance act embodying the conceptual and material significance of women’s experience of the divide by Panayiota Demetriou

The Donor dependency syndrome: The politics of theatre funding structures in Malawi by Zindaba Chisiza and Amy Bonsall

Book Reviews

The Methuen Drama guide to Contemporary South African Theatre, edited by Martin Middeke, Peter Paul Schnierer and Greg Homann | Amy Bonsall

Audience as Performer by Caroline Heim | Poppy Corbett

Collaboration in Performance Practice: Premises, Workings and Failures, edited by Noyale Colin and Stefanie Sachsenmaeir | Sarah Hoover

The Routledge Companion to Dramaturgy edited by Magda Romanska | Emer McHugh

Bakhtin and Theatre: Dialogues with Stanislavsky, Meyerhold and Grotowski by Dick McCaw | James Rowson

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Articles

Jean Dubuffet & Art Brut: The Creation of an Avant-Garde Identity by Antonia Dapena-Tretter (Museum Professional)

Historical Authenticity: Performing Victorian Blackness in Red Velvet by Lolita Chakrabarti and An Octoroon by Branden Jacobs-Jenkins by Hannah Greenstreet (University of Oxford)

A Woman’s Brood: Confronting Disparate Memories of 1916 in Sean O’Casey’s The Plough and the Stars by Jordana Starkman (Trinity College Dublin)

‘To Speak The Truth, The Whole Truth and Nothing But The Truth’: About Political Performances of Listening by Anika Marschall (University of Glasgow)

Authenticity and the ‘Documentive’ in Nanay: A Testimonial Play by Alex Lazaridis Ferguson (University of British Columbia)

EYES: A Monologue by Christopher O'Shaughnessy (Goldsmiths)

Book Reviews

Authenticity in Contemporary Theatre and Performance: Make it Real by Daniel Schulze | Sara Reimers (Royal Holloway, University of London)

Theatre of Real People: Diverse Encounters at Berlin’s Hebbel am Ufer and Beyond by Ulrike Garde and Meg Mumford | Pepetual Mforbe Chiangong (Humboldt University, Berlin)

Reader in Comedy: An Anthology of Theory & Criticism by Magda Romanska and Alan Ackerman, eds. | Adrian Centeno (independent)

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Articles

Banquet Performance Now and Then: Commensal Experiments and Eating as Mise en Scène by Athena Stourna (Princeton University)

TableTalk: Staging Intimacy Across Distance Through Shared Meals by Ana-Christina Acosta Gaspar de Alba (Florida Atlantic University)

The Past Perfect Kitchen: Materiality and Memory Spaces in Unmade, Untitled by Carmen C. Wong (University of Warwick)

Babette’s Relational Art: Dualistic Worship in Isak Dinesen’s Babette’s Feast by Emilia Halton-Hernandez (University of Sussex)

Creative Piece

If this was your Last Supper, what would you serve? by Emma Miriam Berentsen (Independent)

Performance Response

Oh My Sweet Land: A Love Story From Syria: Written and Directed by Amir Nizar Zuabi, The Play Company, 14 October 2017 by Vivian Appler (College of Charleston)

Book Reviews

The Disney Musical on Stage and Screen: Critical Approaches from ‘Snow White’ to ‘Frozen’ by George Rodosthenous, ed. | Laura Robinson (University of East London)

The Sixth Sense of the Avant-Garde: Dance, Kinaesthesia and the Arts in Revolutionary Russia by Irina Sirotkina and Roger Smith | Lisa Moravec (Royal Holloway, University of London)

Theatre in the Dark: Shadow, Gloom and Blackout in Contemporary Theatre by Adam Alston and Martin Welton eds. | Jessica Worden (Independent)

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Opening Provocation

‘What Is This…’: Introducing Magic and Theatre by Augusto Corrieri (University of Sussex)

Articles

Abnormal Personages and Substantial Lumps: Theatre’s Dialectic of Fairy Magic and Human Work by Martin Young (Queen Mary, University of London)

Sacred Staging: Dramatic Magic in the Medieval Mass by Eleanor Bloomfield (University of Auckland)

‘I Am a Magician of Soap’: Alchemical Transformations Affecting the Biomedical Politics of HIV-Infection in Jan Fabre’s Drugs Kept Me Alive by Sylvia Solakidi (University of Surrey)

Creative Pieces

If I Return Will You Remember by Pedro Manuel (Independent)

Sieving Wax with Oil by Graydon Wetzler (UC San Diego)

Performance Responses

Notorious by The Famous Lauren Barri Holstein by Emma M. Chapman (Royal Holloway)

Jack and the Beanstalk by Joel Horwood by Clio Unger (Royal Central School of Speech and Drama)

Book Reviews

Culture, Democracy and the Right to Make Art: The British Community Arts Movement edited by Alison Jeffers and Gerri Moriarty | Linford Butler (University of Manchester)

New Playwriting at Shakespeare’s Globe by Vera Cantoni | Jemima Hubberstey (University of Oxford)

Twenty-First Century Drama: What Happens Now edited by Siân Adiseshiah and Louise LePage | Karen Morash (Rose Bruford College)

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Articles

Theatre as Creative Failure: Simone Weil’s Venise sauvée Revisited by Thomas Sojer (University of Graz)

Cli-je: Subjectivity and Publicity in Art and Criticism: The Letters of Pierre Restany and Marcel Broodthaers in Court-Circuit by Hannah Bruckmüller (Academy of Fine Arts, Vienna)

FeedBack!  Performance in the Evaluation Society by Sabeth Buchmann (Academy of Fine Arts, Vienna)

Criticism Within the Circus Sector: Redressing a Power Imbalance by Katharine Kavanagh (Cardiff University)

In Appreciation of ‘Mis-’ and ‘Quasi-’: Quasi-Experts in the Context of Live Broadcasting by Heidi Liedke (Queen Mary, University of London)

Reports from the Field

Critical Endeavour: Experimental Searches in Contemporary Performance Criticism in Turkey by Eylem Ejder (Ankara University, Turkey)

All of the Art I Experienced from 1.11.18 to 8.11.18 (and How it Made me Feel) Excerpts from a Zine by Megan Vaughn (Royal Holloway, University of London)

Vulnerable Selection: Reshaping Selection Practices in the Performing Arts by Michael Norton (Independent)

Native Speaker: Art Criticism and Its Lingua Franca by Zofia Cielatkowska (Independent)

Performance Responses

Ralegh: The Treason Trial, directed by Oliver Chris by Alessandro Simari (Queen Mary, University of London)

The Twilight Zone, adapted by Anne Washburn by Anne-Louise Fortune (Goldsmiths, University of London)

Book Reviews

Shakespeare and the Urgency of Now: Criticism and Theory in the 21^st Century by Cary DiPietro & Hugh Grady, eds. | Amy Borsuk (Queen Mary, University of London)

Critique and Postcritique by Elizabeth S. Anker & Rita Felski, eds. | Jaelyn Endris (Royal Central School of Speech and Drama)

Thinking Through Theatre and Performance by Maaike Bleeker, Adrian Kear, Joe Kelleher & Heike Roms eds. | Bojana Janković (Royal Central School of Speech and Drama)

Critical Encounters with Immersive Storytelling by Alke Gröppel-Wegener & Jenny Kidd | Meg Cunningham (University of Surrey)

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Articles

Messing with the Wrong Guise? Creating Subversive Work in a “Creative Economy” that Celebrates Subversion by Tim Cowbury (Royal Holloway, University of London)

On Being Cast: Identity Work by Kirstin Smith (University of East Anglia)

Craft Remodelling Labour? The Craft Metaphor in Actor Training and the Actor’s Future Labour: A case study of foundational training at Ernst Busch Academy of Dramatic Arts in Berlin by Raimund Rosarius (University of Munich, University of Salzburg)

Recalcitrance is Not Yet Resistance: Post-Fordist Labour and Incorporation in the Work of Sofia Caesar by Steyn Bergs (Virje Universiteit Amsterdam)

‘Doing Housework Doing Laundry’: Spectacularization of Labor in Caroline, or Change by Hansel Oh (CUNY Graduate Center)

Producing ‘The Joy of Pret’: Theatres of (Emotional) Labour in the Service Industry by Jaswinder Blackwell-Pal (Birkbeck, University of London)

Notes from the Field

Installing Performances of Spatial Labour by Beth M. Weinstein (University of Arizona)

Work | Strike | Dance: The Paris Opera Ballet and the 2019 Pensions Dispute by Martin Young (Queen Mary, University of London)

Institutional Care and the Feminine Aquatic: An Interview with Shona Macnaughton by Angeliki Roussou (Edinburgh College of Art) and Shona Macnaughton

Unpaid and Low-paid Labour on the Fringe: a look at Orange Skies Theatre by Laura Kressly (Independent)

‘Work, work, work…’ Limits and Potentials of Dramaturgical Labour in Municipal Theatres by Antonia Tretter (LMU Munich)

‘Critical Plagiarism’ as Discursive Labour: A Conversation with Leah Modigliani by Laurel V. McLaughlin (Bryn Mawr College) and Leah Modigliani (Tyler School of Art and Architecture)

Book Reviews

Cultural Labour: Conceptualising the Folk Performance in India by Brahma Prakesh | Satkirti Sinha (Independent)

Rehearsing Revolutions: The Labor Drama Experiment and the Radical Activism in the Early Twentieth Century by Mary McAvoy | Alessandro Simari (Queen Mary, University of London)

Performance Responses

Do you know a love song…?  Action Hero’s Oh Europa.  Created by Gemma Paintin and James Stenhouse of Action Hero.  Nyon, Switzerland. 21 August 2020.  By Olivia Lamont Bishop (Royal Holloway, University of London)

Alice – A Virtual Theme Park.  Directed by Zoë Seaton. Creation Theatre and Big Telly Theatre, via Zoom. 1-30 August 2020. Watched on 12 August 2020.  By Heidi Łucja Liedke (University of Koblenz-Landau)

Full Issue

Cover

Front Matter

Editorial

Contributors

Articles

Taking a Knee by Tom Hastings (The Place, London)

Staging a Queer Relationality: Destabilising Ballet in Brendan Fernandes’ The Master and Form by Dylan Sherman (Stanford University)

Spasms over balance: Posthuman perspectives, antinormative becomings, and the sticky runway of vogue femme by Christina Tente (University of Gothenburg)

What happened in What Happened A Five Act Play: Gertrude Stein’s Collaged Narrative by Rebekka Jolley (Liverpool Hope University)

Notes from the Field

Effortless Power on the Edge: A choreopolitical proposal to negotiate the gravity by Maryam Bagheri Nesami (University of Auckland)

Performance Art: Journeying Through Public Spaces in the City of Singapore by Adrian Tan (Nanyang Technological Univeristy)

Creative Contributions

July, Supporting by Debbie Green (Royal Central School of Speech and Drama) and Clare Park (Independent)

Seeing Beyond the Visible: A Choreography of Breath and Touch: A Reflection on the making of Thermal Duets by Angela Woodhouse (Middlesex University) and Caroline Broadhead (Central Saint Martins, University of the Arts London)

Natalie Inside Out by Natalie Reckert and Mark Morreau (Independent)

A Sense of Balance: Moving In between the Vertical and Horizontal Plane by Carolien Hermans (University of Leiden)

Performance Responses (Edited by Gwyneth Donlon (Royal Holloway, University of London))

Grace, not Gravity: Fall pieces.  Created by Bas Jan Ader  | Lilly Markaki (Royal Holloway, University of London)

Landscape with Fall of Artist.  Created by Amy Sharrocks  | Amy Sharrocks (Independent)

Crave by Sarah Kane. Directed by Tinuke Craig | Kit Narey (University of Sussex) and Alex Watson (Royal Holloway, University of London)

Book Reviews (Edited by Lianna Mark (Durham University))

Caught Falling by David Koteen and Nancy Stark Smith | Kate Holden (University College Cork)

Disabled Theatre edited by Sandra Umathum and Benjamin Wihstutz Smith | ‘Tunde Awosanmi (University of Ibadan)

Perpetual Motion by Harmony Bench | Rachael Davies (Coventry University)

An Introduction to Theatre, Performance and the Cognitive Sciences by John Lutterbie | Christina Regorosa (Central European University)