This is the first CTR issue of the Twenties. The cover image shows two women calmly conversing in a library. This is a one-to-one performance entitled ‘Time has fallen asleep in the afternoon sunshine’ (2016) that took place as part of the Sydney Biennial and entails a single performer narrating the opening section of a novel to a single audience member. We have chosen this for our cover image because although it might appear to evade the theatrical, the photograph demonstrates an important moment in our loud and belligerent political moment, the simple action of attending and being attended to. The Teens were dominated by schism, violent conflict, and divisive politics, by shouting and tweeting rather than debating and hearing. By an inability to listen. The war in Syria quickly followed the enormous optimism of the Arab Spring and has had devastating consequences, a tragedy that we have yet to fully grasp. The United States has reached a level of polarisation not seen since the Vietnam War, while the UK is attempting to find common ground in the wake of an argument over its identity and orientations in the wider world (and not only the EU) that has lasted for the latter half of the decade. Across Europe, the rise of populism and the spectre of fascism occurred alongside the rise in social media, selfies, and influencers. There has been a dual emphasis on defending the rights of the nation-state and the individual. The editors hope to start the new decade with a renewed commitment to civility, to open discussion, to coalitional thinking that does not require what Judith Butler has called ‘compulsory forms of collectivism’. In this spirit of transparency and inclusion, we have decided to make it a policy to require all special issues to have an open call, and this initiative was launched with two forthcoming calls for ‘What’s Queer about Queer Performance Now?’ (edited by Alyson Campbell, Stephen Farrier, and Manola Gayatri Kumarswamy) and ‘Hear Tell: Describing, Reporting, Narrating’ (edited by Georgina Guy and Johanna Linsley) to be published in 2021 and 2022. These issues pay attention to a diversity of ways of being in the world and attending to one another, thus animating a radical politics of listening and recognition. In addition, we have invited a new generation of scholars and practitioners to join our editorial and advisory board as part of our aim to expand the scope and reach of the journal and to 1. Judith Butler, Notes Toward a Performative Theory of Assembly (Cambridge, MA: Harvard University Press, 2015), 42. Contemporary Theatre Review, 2020 Vol. 30, No. 1, 2–5, https://doi.org/10.1080/10486801.2020.1732631

中文翻译：

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社论 30.1

这是二十年代的第一期点击率问题。封面图片显示了两个女人在图书馆里平静地交谈。这是一场名为“时间在午后的阳光下睡着了”（2016 年）的一对一表演，作为悉尼双年展的一部分进行，需要一位表演者向一位观众讲述小说的开头部分。我们选择这个作为我们的封面图片是因为尽管它似乎在逃避戏剧，但这张照片展示了我们喧闹和好战的政治时刻中的一个重要时刻，即出席和被关注的简单动作。青少年被分裂、暴力冲突和分裂政治所支配，他们通过喊叫和发推文而不是辩论和倾听。由于无法倾听。叙利亚战争很快就伴随着阿拉伯之春的巨大乐观情绪，并产生了毁灭性的后果，这是我们尚未完全理解的悲剧。美国已达到自越南战争以来从未见过的两极分化程度，而英国正试图在其在更广阔世界（不仅是欧盟）的身份和方向的争论中找到共同点。在这十年的后半段。在整个欧洲，民粹主义和法西斯主义的兴起伴随着社交媒体、自拍和影响者的兴起。一直以来都强调捍卫民族国家和个人的权利。编辑们希望以对文明的新承诺开始新的十年，公开讨论，不需要朱迪思巴特勒所说的“集体主义的强制性形式”的联合思想。本着透明和包容的精神，我们决定制定一项政策，要求所有特殊问题都公开征集，而发起这项倡议的同时还有两个即将到来的“现在酷儿表演有什么酷儿？”的呼吁。（由 Alyson Campbell、Stephen Farrier 和 Manola Gayatri Kumarswamy 编辑）和“Hear Tell：描述、报告、叙述”（由 Georgina Guy 和 Johanna Linsley 编辑）将于 2021 年和 2022 年出版。这些问题关注的多样性人在世界上并相互关注的方式，从而激发了一种激进的倾听和认可政治。此外，我们邀请了新一代的学者和从业者加入我们的编辑和顾问委员会，作为我们扩大期刊范围和影响范围的一部分，以及 1. Judith Butler, Notes Toward a Performative Theory of Assembly（剑桥，马萨诸塞州：哈佛大学出版社，2015），42。当代戏剧评论，2020 年卷。30, No. 1, 2–5, https://doi.org/10.1080/10486801.2020.1732631