In lieu of an abstract, here is a brief excerpt of the content: “Performing Our Pain or Performing Through It”: Contextualizing #MeToo Tarana Burke is the performance theorist of this historical moment. Notwithstanding any individual assessment of its efficacy, her coining of “Me Too” has produced a transnational movement that has left a seismic impact on the protocols of departments like dance and

Abstract: This article responds to the use of “casting couch” in the defense of Harvey Weinstein during his New York trial for rape and sexual assault in 2020. It traces the emergence of “casting couch” in the early-to-mid-twentieth century as a means of naming, but not acknowledging, sexual exploitation and violence in proximity to casting practices. The “casting couch” cliché invokes genre-scenes

Abstract: On May 19, 2015, Columbia University President Lee Bollinger stood on stage and shook the hands of all the students whose degrees were conferred that day…all except one. This student, Emma Sulkowicz (they/them/she/hers), carried a dorm-issue mattress onto the dais—the same type of mattress on which they were raped. Sulkowicz, a gender-fluid performance artist, created the endurance performance

Abstract: This article analyzes two contemporary plays, Jeremy O. Harris’s Slave Play and Mary Kathryn Nagle’s Sovereignty, each of which connects twenty-first-century intimacy with sexual violence in the nineteenth-century United States. Both plays feature what I term “erotic returns”—physical and imaginative restorations of sites of historical trauma that hope to animate lost sensations. Erotic returns

Abstract: This article centers public whippings in Delaware. Whereas there is an extensive literature on extra-legal corporal punishments (such as lynchings), comparatively less attention has been paid to public enactments of corporal punishments of African Americans that were authorized by law in the late nineteenth and twentieth centuries. In focusing on the staging of whippings before assemblies

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: South Africa’s National Arts Festival Bryan W. Schmidt SOUTH AFRICA’S NATIONAL ARTS FESTIVAL. Various venues, Makhanda, South Africa. June 23–July 3, 2022. South Africa’s National Arts Festival (NAF) built its reputation on being a platform for vital social critique, a major draw for the Eastern Cape economy, and also a kuierfees—a

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: The Breach by Naomi Wallace Erica Stevens Abbitt THE BREACH. By Naomi Wallace. Directed by Sarah Frankcom. Hampstead Theatre, London. May 12, 2022. In an era of social crisis in Britain and the United States, this production of Naomi Wallace’s provocative coming-of-age drama The Breach marked a series of firsts. It was the

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: The Cuban Vote by Carmen Pelaez Horacio Sierra THE CUBAN VOTE. By Carmen Pelaez. Directed by Loretta Greco. Colony Theater, Miami New Drama, Miami Beach. April 22, 2022. Carmen Pelaez’s The Cuban Vote demonstrated just how vital regional theatre is and how well it is able to reflect the realities of local communities and the

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Potus by Selina Fillinger, and: For Colored Girls … by Ntozake Shange Sonja Arsham Kuftinec POTUS. By Selina Fillinger. Directed by Susan Stroman. Shubert Theatre, New York. May 7, 2022. for COLORED GIRLS… By Ntozake Shange. Directed and Choreographed by Camille A. Brown. Booth Theatre, New York. May 8, 2022. How does feminism

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Trouble In Mind by Alice Childress, and: Wedding Band by Alice Childress Melissa Barton TROUBLE IN MIND. By Alice Childress. Directed by Charles Randolph-Wright. Roundabout Theatre Company, New York. December 11, 2021. WEDDING BAND. By Alice Childress. Directed by Awoye Timpo. Theatre for a New Audience, Brooklyn. May 14,

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: The Folks at Home by R. Eric Thomas, and: Dream House by Eliana Pipes Natka Bianchini THE FOLKS AT HOME. By R. Eric Thomas. Directed by Stevie Walker-Webb. Baltimore Center Stage, The Pearlstone Theatre, Baltimore. March 27, 2022. DREAM HOUSE. By Eliana Pipes. Directed by Laurie Woolery. Baltimore Center Stage, The Head Theatre

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Las Hermanas De Manolete by Alicia Montesquiu, and: Entre Sevilla y Triana Duncan Wheeler LAS HERMANAS DE MANOLETE. By Alicia Montesquiu. Directed by Gabriel Olivares. Teatro Fernán Gómez, Centro Cultural de la Villa, Madrid. January 23, 2022. ENTRE SEVILLA Y TRIANA. Music by Pablo Sorozábal. Libretto by Luis Fernández de

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Le Misanthrope by Molière, and: Le Malade Imaginaire by Molière, and: Le Tartuffe ou L’hypocrite by Molière, and: Le Bourgeois Gentilhomme by Molière, and: L’avare by Molière Nancy C. Jones LE MISANTHROPE. By Molière. Directed by Clément Hervieu-Léger. Comédie-Française, Paris. March 12, 2022. LE MALADE IMAGINAIRE. By Molière

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Mnemodrama in Action: An Introduction to the Theatre of Alessandro Fersen by John C. Green Scott Venters MNEMODRAMA IN ACTION: AN INTRODUCTION TO THE THEATRE OF ALESSANDRO FERSEN by John C. Green Newcastle upon Tyne: Cambridge Scholars Publishing, 2019, pp. 215. Mnemodrama in Action draws Polish-Italian theatrical anthropologist

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Afterlife of the Theatre of the Absurd: The Avant-Garde, Spectator-Ship and Psychoanalysis by Lara Cox Arka Chattopadhyay AFTERLIFE OF THE THEATRE OF THE ABSURD: THE AVANT-GARDE, SPECTATOR-SHIP AND PSYCHOANALYSIS. By Lara Cox. Dramaturgies Vol. 37. Brussels: Peter Lang, 2018, pp. 216. The avant-garde introduces a break in

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Middle Eastern American Theatre: Communities, Cultures, and Artists by Michael Malek Najjar Sarah Fahmy MIDDLE EASTERN AMERICAN THEATRE: COMMUNITIES, CULTURES, AND ARTISTS by Michael Malek Najjar. London, England: Metheun Drama, 2021; pp. 256. Middle Eastern American Theatre: Communities, Cultures, and Artists offers a comprehensive

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: The Invention of Shakespeare and Other Essays by Stephen Orgel Fran Teague THE INVENTION OF SHAKESPEARE AND OTHER ESSAYS. Stephen Orgel. Philadelphia: University of Pennsylvania Press, 2022; pp. 192, 7 halftones. The Invention of Shakespeare gathers twelve of Stephen Orgel’s essays. In his opening essay, he declares the collection’s

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Sports Plays ed. by Eero Laine and Broderick Chow Sharon Mazer SPORTS PLAYS. Edited by Eero Laine and Broderick Chow. London: Routledge, 2022; pp. 239. Sports Plays breaks new ground in inviting contributors to look at how theatre makers have taken up the challenge of representing diverse sports practices and the often-ambivalent

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: The Life of Training by John Matthews Garret Camilleri THE LIFE OF TRAINING. John Matthews. London: Bloomsbury Methuen Drama, 2019; pp. 216. John Matthews’ book, The Life of Training, is the third of his printed works positioned between the Philosophy and Drama subjects in the library. From the text’s introduction, readers

Abstract: Working in photography, sculpture, mixed media portraiture, and protest performance, New York-based artist Jaishri Abichandani archives her feminist, queer, and trans South Asian community. In her early work, she photographed drag artists and genderqueer performers at desi parties in the early 2000s, and in a series of ongoing portraits titled Jasmine Blooms at Night she paints tributary

Abstract: Voices of heterosexual white women have proliferated through the viral circulation of #MeToo. Notwithstanding the importance of highlighting misogyny and sexual violence within industries that frequently capitalize on women’s performing bodies, the movement has sometimes obscured queer, kink, trans, and other articulations of desire that fall outside of heteronormativity. What possibilities

For French theatre history, the seventeenth century paradoxically stands out as both the Grand Siècle, or golden age, in which Pierre Corneille, Molière, and Jean Racine produced their masterpieces, and as a period of intense antitheatrical sentiment in which Jansenist theologians like Pierre Nicole and Catholic bishops like Jacques-Bénigne Bossuet composed treatises against the stage and its players

On 22 May 1938, Stanislavsky gathered his group of eleven assistant-pedagogues at the Opera-Dramatic Studio for a last collective class. The Studio was already free for the summer vacation after the tumultuous first show of Chekhov’s Three Sisters, opened only to a small number of guests a week before. Mikhail Kedrov had rehearsed the performance with the students for the preceding three years, and

This article attempts to outline the most important assumptions of the work of Kokyu Studio led by Przemysław Błaszczak and Joanna Kurzyńska and based at the Grotowski Institute in Wrocław in Poland. The Studio’s educational and artistic programme is founded on the idea of a ‘place of practice’, which captures the philosophical, practical, aesthetic, and ethical horizon of the activities common to

This article focuses on the last moments of Le Sacre du printemps, which opened in Paris on 29 May 1913 at the Théâtre des Champs-Élysées. Concentrating on the discourse of the creative practice that brought these moments into being, it seeks to add to our understanding of Le Sacre from the evidence of those most intimately involved with this first production. Analysis of Le Sacre demonstrates the

The SoloSIRENs Collective’s production Cessair, staged in South Dublin in the summer of 2021, represents the second production of this burgeoning company. The Collective is a community-based theatre group comprised of an all-female ensemble that has been creating together since 2019. For this production, it used the Irish myth of Cessair as a starting point to consider the female experience, and invited

In a post-#Me-Too/Black Lives Matter landscape, the gender- and race-politics of the Golden Age of rock have increasingly come under interrogation. Hip-hop challenging rock’s long-standing hegemony constitutes a sociological as well as a musical shift, with a production such as Andrew Lloyd Webber’s School of Rock (2015) perhaps seeming hopelessly old-fashioned in comparison with Lin-Manuel Miranda’s

ABSTRACT This is a collaborative trans-atlantic meandering around our respective research fields, interjected with archival traces of our performances. Alongside us are The GUIDE, and #Sergina. The GUIDE is a survival praxis of how the Black identity performs in anticipation of being trapped in the gaze of being processed as other; a pedagogical deployment of research and critical theory from Black

ABSTRACT This editorial elaborates on the processes and practices of Open Call and its iteration as a print and online issue of Studies in Theatre and Performance. It offers a collaborative framing of the issue that includes the voices of its editors and peer reviewers, and suggests some possible pathways through the texts and artworks that comprise this special issue, which is titled open-call+response:

ABSTRACT This text reflects in part on Sosa’s ongoing project (in collaboration with Navild Acosta) Black Power Naps (https://blackpowernaps.black/), as well as ecologies of pleasure, and bio-technologies of the body in green city spaces. Sosa was an Open Call working group member in 2021, and was invited to re-visit their practice for this STP special issue.

ABSTRACT This offering is part 1 of 3 in Lou Sarabadzic’s series Making Sense, which re-visits the exploration of the physicality and materiality of language in her video work Traces (2021).

ABSTRACT This is part 1 of 3 of a conversation and a practice of listening about and speaking of composting grief. The exchange, between melissandre varin and Carmen Wong, was initiated via voice notes, voicemails, and WhatsApp recordings and was transcribed and composed/composted visually with illustrations by N. Drofiak.

ABSTRACT This contribution is a photo-essay comprising ten images of author’s actions (and ongoing project, Free Bitch / Fr33 b1tch) during lockdown in 2021 on Gadigal Land, Warrang.

ABSTRACT Elder reflects - in three parts - on family and friendship, noting references and past/present connections to art, music, Mardi Gras, and sites of cultural heritage.

ABSTRACT Fragments of Encounters is a performance-installation based research project that was first performed at the Infecting the City public art festival in 2019 in Cape Town. The project was build around a personal archive (over 150 hours of audio recorded material), comprised of fragments of everyday encounters and conversations with South Africans, Zimbabweans, Congolese, Nigerians, Pakistanis

ABSTRACT This offering is part 2 of 3 in Lou Sarabadzic’s series Making Sense, which re-visits the exploration of the physicality and materiality of language in her video work Traces (2021).

ABSTRACT ‘Summer Cannibals’ is a work of fiction, interspersed and illustrated with Izdihar Afyouni‘s paintings. It narrates an account of grief, rage, and violence.

ABSTRACT This article reflects on the special interests, friendships, tastes, and pleasures of those who are perceived as deviating from the norm, are labelled “activists”, and are expected to educate others on topics surrounding their own communities or marginalisations. This article creates a space of honesty in which one can exist beyond marginalisations.

ABSTRACT These are parts 2 and 3 of a conversation and a practice of listening about and speaking of composting grief. The exchange, between melissandre varin and Carmen Wong, was initiated via voice notes, voicemails, and WhatsApp recordings and was transcribed and composed/composted visually with illustrations by N. Drofiak.

ABSTRACT Anti-performance is a term that I use to describe my body of performances, which in actuality are also ephemeral moments in time-space. The ‘anti’ is derived and borrowed from anti-colonial, the radical (root) of ‘decolonial’ and ‘post’ colonial, in this case a direct opposition to what is expected of gendered, racialised bodies, by audiences but also that which is usually invited by institutions

ABSTRACT This offering is part 3 of 3 in Lou Sarabadzic’s series Making Sense, which re-visits the exploration of the physicality and materiality of language in her video work Traces (2021).

ABSTRACT Place can shape and influence audience behavior during a performance. This is especially noticeable in the site-specific immersive theatre model, where the performance occurs in a non-theatre setting and audiences have an active role. In this article, we argue that ‘place schema’ – a term from the interdisciplinary field of environment-behavior studies – provides a conceptual framework for

ABSTRACT A windy day in May in a small village Velo Grabje on top of the hill of the island of Hvar. A small, centuries old, chapel and a dry, dusty island’s landscape is the only mise en scene for the performance of the medieval saint play which is just about to take place in front of around 40 visitors. As the wind carries their entrance song and waves their costumes, long black and white black tunics

In lieu of an abstract, here is a brief excerpt of the content: From R.U.R. to Westworld:Personal Revolt, Digital Technology, and the Making of a New Robot Ur-text Bella Poynton (bio) The 100th anniversary of Karel Čapek's formative play R.U.R. (1920), or Rossum's Universal Robots, fell during 2020, a challenging year for live theatre due to the COVID-19 pandemic.1 The original production of R.U.R

In lieu of an abstract, here is a brief excerpt of the content: Thomas, Lord Cromwell Recontextualized:An Economic Fable in Response to The Merchant of Venice Igor Djordjevic (bio) The True Chronicle Historie of the Whole Life and Death of Thomas Lord Cromwell by "W.S.," printed in 1602, was first performed by the Lord Chamberlain's Men around 1599, and it remained part of the company's repertory.1

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Communal Justice in Shakespeare's England: Drama, Law, Emotion by Penelope Geng Jessica Winston (bio) Penelope Geng, Communal Justice in Shakespeare's England: Drama, Law, Emotion. Toronto: University of Toronto Press, 2021, Pp. xiv + 257 + 9 b/w illus. $75.00. Studies in early modern law and literature have emphasized professional

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Shadows of the Enlightenment: Tragic Drama during Europe's Age of Reason ed. by Blair Hoxby Daniel Gustafson (bio) Blair Hoxby(ed). Shadows of the Enlightenment: Tragic Drama during Europe's Age of Reason. Columbus: Ohio State University Press, 2022. Pp. vii + 320. $99.95. The fate of eighteenth-century tragedy in the long

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Living with Shakespeare: Saint Helen's Parish, London, 1593-1598 by Geoffrey Marsh Christopher Highley (bio) Geoffrey Marsh. Living with Shakespeare: Saint Helen's Parish, London, 1593-1598. Edinburgh: Edinburgh University Press, 2021. Pp. 512 + 170 color illus. $29.95. This is the latest of several recent books about the

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Theatre of Anger: Radical Transnational Performance in Contemporary Berlin by Olivia Landry Sophie Nield (bio) Olivia Landry. Theatre of Anger: Radical Transnational Performance in Contemporary Berlin. Toronto: University of Toronto Press, 2021. Pp 256 + 8 b/w illus. $79. This book opens with a book burning. In May 2016, as

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Making a Play for God: The Sacre Rappresentzioni of Renaissance Florence by Nerida Newbigin Pamela M. King (bio) Nerida Newbigin. Making a Play for God: The Sacre Rappresentzioni of Renaissance Florence. 2 Vols. Toronto: Victoria University Centre for Renaissance and Reformation Studies, 2021. Pp. 1039 + 194 illus. $60. Making

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: The Theatre of Anthony Neilson by Trish Reid Marc Shaw (bio) Trish Reid. The Theatre of Anthony Neilson. London: Bloomsbury Methuen Drama, 2017. Pp viii + 215. $60. Trish Reid's book The Theatre of Anthony Neilson is the first full-length study of the Scottish playwright's work, making it an important moment in Anthony Neilson

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Le Théâtre du Soleil: The First Fifty-Five Years by Béatrice Picon-Vallin Nancy Jones (bio) Picon-Vallin, Béatrice. Le Théâtre du Soleil: The First Fifty-Five Years. Translated by Judith G. Miller. Routledge, 2021. v + 466 pages. Cloth $160.00, Paper $44.95, eBook $33.71. Originally published in French in 2014, Béatrice Picon-Vallin's

In lieu of an abstract, here is a brief excerpt of the content: Contributors Igor Djordjevic is an Associate Professor of Early Modern English literature at York University and the Chair of the English Department at Glendon College. He is the author of Holinshed's Nation: Ideals, Memory, and Practical Policy in the Chronicles (Ashgate, 2010) and King John (Mis)Remembered: The Dunmow Chronicle, the

The following is a transcript of the Q&A with Zoё Seaton on 2 August 2022.

For at least thirty years, scholars have debated the centrality of physical and embodied presence as essential to the experience of theatre and performance. A debate that was perhaps largely academic suddenly became a shared reality when COVID-19 shuttered live venues, closed universities and moved artists of all kinds online. Suddenly, much of the theatre world began acting for the (web)camera. This

All became data during the pandemic. Lockdowns made manifest what had developed for some time: that theatre has become inextricably entangled with digital cultures, the performing arts being increasingly encountered as a growing stock of multimodal fragments, textual discourses and networked communications. And, it is argued, it is precisely this appearance of theatre as (big) data that might prove

This article proposes to address the tension between digital co-presence and embodied spectatorship inaugurated by the pivot to online and hybrid forms of (post-)pandemic performance through the lens of the postdigital. The term is developed as a way of accounting for the complex mediatized co-presence between performer and audience in a representative example of this genre, Dead Centre's To Be a Machine

This article examines Scenes for Survival, a series of short digital artworks co-created by the National Theatre of Scotland, BBC Scotland and Screen Scotland, for its intersecting dimensions of precarity. On the one hand, the series shows how a pandemic's challenges are unevenly distributed. On the other hand, it addresses the expressly precarious position of (post-)pandemic theatre – precarious in

Taking a closer look at the digital monologue series Go mBeire Muid Beo (May We Be Alive [to See Each Other Again]), which was produced by the Belfast-based Irish-language theatre company Aisling Ghéar, this article seeks to document Irish-language theatre produced under coronavirus lockdown measures in Northern Ireland, whilst acknowledging the various issues that continue to haunt the Irish language

The purpose of this article is to explore different ways of countering the COVID-19 pandemic in Polish theatre that were not only attempts to provide protection against the potentially lethal coronavirus, but also attempts to actively combat other ‘viruses’: the capitalist compulsion for productivity and the exclusion of Others (the disabled, the elderly, women or LGBT+ people). Several Polish artists