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Theatrical Affordances to Stage the Perceived-Experienced Reality of People with Dementia: Florian Zeller’s Dramaturgy of Porosity in The Father Contemporary Theatre Review Pub Date : 2023-11-23 Heunjung Lee
This article investigates how French playwright Florian Zeller positions his writing with respect to realism in his play The Father (Le Père, 2012) and what his dramaturgy of porosity adds to the r...
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Re-readings Contemporary Theatre Review Pub Date : 2023-11-23 Sarah Bay-Cheng
Re-Readings is a space in which scholars use a review format to return to and reflect on a book that has influenced their thinking and scholarship; these books might be established or overlooked, a...
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Editorial 33.3 Contemporary Theatre Review Pub Date : 2023-11-23 Maria M. Delgado, Maggie B. Gale, Bryce Lease, Sarah Thomasson, Sir Anril Pineda Tiatco
Published in Contemporary Theatre Review (Vol. 33, No. 3, 2023)
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The Decolonial Labour and the Gift of Contemporary Sámi Performance Contemporary Theatre Review Pub Date : 2023-11-23 Dirk Gindt
In February 2017, Sweden’s oldest and largest professional Sámi ensemble, Giron Sámi Teáhter, produced the politically outspoken production CO2lonialNATION – A Theatrical Truth and Reconciliation C...
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On Scent in Theatre Audience Research: Sensory Mining and Olfactory Archives Contemporary Theatre Review Pub Date : 2023-11-23 Freya Verlander
This article uses netnographic research methods, as a form of olfactory sensory mining, to investigate the smell-based experiences of audience members at Punchdrunk’s Sleep No More (2011). In doing...
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Staging the Human Remnant in the Anthropocene: Breaking the First Wall in Bruno Latour and Frédérique Aït-Touati’s Inside Contemporary Theatre Review Pub Date : 2023-11-23 Amadeo Dierickx
The relationship between theatre and the Anthropocene remains an understudied topic. First, there appears to be a tension between the Anthropocene as a concept that, by radically foregrounding a ho...
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Essential Work: Eastern European Immigrants and Models of Participation Contemporary Theatre Review Pub Date : 2023-11-23 Bojana Janković
This article investigates the relationship between a marginalised community of essential workers and dominant models of participation. I focus on Agri-Care, The Royals, and Alien Species, projects ...
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Backpages 33.3 Contemporary Theatre Review Pub Date : 2023-11-23
Backpages is an opportunity for the academy to engage with theatre and performance practice with immediacy and insight, and for theatre workers and performance artists to engage critically and refl...
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Performance and the Critique of Resilience in Culture (England, 2004–2020) Contemporary Theatre Review Pub Date : 2023-11-23 John Yves Pinder
In the wake of Brexit and COVID-19, this article looks back at resilience-building agendas in English publicly funded cultural production. The analysis examines the history of ‘resilience’ in arts ...
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On the Edge: Straddling (Anti)normativity in Queer Performance Contemporary Theatre Review Pub Date : 2023-08-03 Laine Halpern Zisman
Abstract In Living a Feminist Life, Sara Ahmed explains that precarity is akin to a vase on the mantelpiece. If it were pushed even slightly, it would fall off the edge. Existence on that edge, Ahmed explains, is what we allude to when we discuss precarious populations. Patriarchy, racism, ableism, homophobia, and transphobia are violent forces. They threaten to push us over the edge. Queer performance
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What’s Queer about Queer Performance Now? Contemporary Theatre Review Pub Date : 2023-08-03 Alyson Campbell, Stephen Farrier, Manola-Gayatri Kumarswamy
Published in Contemporary Theatre Review (Vol. 33, No. 1-2, 2023)
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Storying Silenced Queer Narratives: Koleka Putuma’s re-membering and re-memorying of Queer Trauma in No Easter Sunday for Queers (2019) Contemporary Theatre Review Pub Date : 2023-08-03 Kamogelo Molobye
Abstract Contemporary theatre in South Africa has a history of hegemonically framing narratives that prevalence cisheteronormative stories. These narratives exacerbate the already existing acts of violence resulting from systems that place queerness against the backdrop of marginality. Inquiries in queer histories, identities, and sexualities arouse questions of belongingness, emphasising perspectives
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This is My Body: The Queer Messianic Dysphoria of The Pink Supper Contemporary Theatre Review Pub Date : 2023-08-03 Nando Messias
Abstract In this article, I offer a personal and critical analysis of The Pink Supper, a protest-performance created in collaboration with Biño Sauitzvy in 2019. It is written using three modes of expression: (a) critical writing, which appears in roman type, (b) internal conversations, in italics and (c) excerpts from the performance itself, in bold. In engaging three distinct voices, I take a queer
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Who Cares?: Ethics and Practices of Care and Making Change in Contemporary Queer Performance Production Contemporary Theatre Review Pub Date : 2023-08-03 Rebecca Tadman
Abstract Queer performance has historically illuminated an imbalance of care for minoritarian concerns and fostered community connections for collective survival and resistance.1 This article interweaves theorisations by Leah Lakshmi Piepzna-Samarasinha and collaborators in the book Care Work: Dreaming Disability Justice2 and draws upon interviews with key queer cultural producers, practitioners, scholars
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Mitigating Anxieties: Cleaving as Queer Becoming Contemporary Theatre Review Pub Date : 2023-08-03 Supraja R
Abstract Cleaving, a principle of theatricality, proposes that a ‘cleft’ or a ‘cleaving’ holds within it the promise and ability to shift, change, alter, and create emergences. I find the instability and transformation that cleaving energises to be resonant with the instability of sexual or gender non-conforming expression. In this essay, I present a rubric of cleaving as queer becoming by bringing
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Transnational Queer-Feminist Methodologies in Live Art: Issues of Translation and Representation in Va-Bene Elikem Fiatsi’s Work Contemporary Theatre Review Pub Date : 2023-08-03 Giulia Casalini
Abstract How to access, read, and interpret queer-feminist live art from a transnational perspective? And how to account for those subjects whose geopolitical positionalities do not subscribe to the most acknowledged Euro-American canons? In this article, I will address these questions by engaging with the limits of a queer theory (or practice) that does not acknowledge its feminist co-constitution
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Haunted Taxonomies, Converging Temporalities: Queer Ghosts on the Stages of Istanbul Contemporary Theatre Review Pub Date : 2023-08-03 Erdem Avşar
Abstract Queer ghosts are haunting the independent stages of Istanbul. Trans sex workers, fallen angels, and pop icons who lost their lives are coming back to life, and they want more than a mourning. They want to educate the living, seek redress, complain, and imagine new social knowledges for the queers of the present time. This article offers a dramaturgical taxonomy of these queer ghosts by tracing
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Kings, Queens, Monsters, and Things: Digital Drag Performance and Queer Moves in Artificial Intelligence (AI) Contemporary Theatre Review Pub Date : 2023-08-03 Joe Parslow
Abstract The Zizi Project is a series of connected art and performance pieces created by artist Jake Elwes in collaboration with Me The Drag Queen and members of London’s drag performance scene. The works – currently Zizi: Queering the Dataset (2019), Zizi & Me (2020; ongoing), and The Zizi Show (2020) – sit at the intersection of drag performance and Artificial Intelligence (AI), playing with and
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Backpages 33.1-2 Contemporary Theatre Review Pub Date : 2023-08-03
Backpages is an opportunity for the academy to engage with theatre and performance practice with immediacy and insight, and for theatre workers and performance artists to engage critically and reflectively on their work and the work of their peers.
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Micro-Festivals on the Fringe: The OFF d’Avignon in 2020 Contemporary Theatre Review Pub Date : 2023-01-06 Hanna Huber
Abstract The management of the coronavirus crisis of 2020 required immediate and top-down decisions, which contradicts the bottom-up philosophy of the non-curated Festival OFF d’Avignon. As a consequence, the loose organizational structure risked breaking apart and every theatre director acted autonomously by either cancelling the scheduled programme, creating online alternatives, or organising independent
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Festivals in the Pandemic Contemporary Theatre Review Pub Date : 2023-01-06 Sarah Thomasson
Published in Contemporary Theatre Review (Vol. 32, No. 3-4, 2022)
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Questions of Presence and Absence: Lessons from the Pandemic Contemporary Theatre Review Pub Date : 2023-01-06 Julia Varley
Abstract Julia Varley is a long-term artist from the Odin Teatret in Denmark as well as being one of the key actress/directors and founder members of the Magdalena Project. Julia curates numerous international festivals and workshops including Transit (in Denmark) and the International School of Theatre Anthropology (ISTA). She is also a founding member of the Barba Varley Foundation, in support of
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Evolving into Chameleons: Survival Strategies for Tampere Theatre Festival during the COVID-19 Pandemic Contemporary Theatre Review Pub Date : 2023-01-06 Hilkka-Liisa Iivanainen
Abstract From the point of view of the author Hilkka-Liisa Iivanainen, the co-artistic director of Finland’s Tampere Theatre Festival, the purpose of a performing arts festival is fundamentally challenged by the unforeseen and ongoing COVID-19 pandemic. In Tampere, the festival’s core mission of coming together to celebrate theatre as an art form has almost become secondary to the constantly changing
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MIF Festival 2021 and COVID-19 Contemporary Theatre Review Pub Date : 2023-01-06 Maggie Gale
Abstract John McGrath is Artistic Director and Chief Executive of Manchester International Festival (MIF) and The Factory, Manchester, UK. The festival is biennial and commissions new work by artists from all over the globe, presenting the work over an 18 day period in July. Here, John talks in an interview with Maggie B. Gale about the impact of the pandemic on the planning season for the festival
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‘Isra-Drama: Exposure as Dialogue’ Contemporary Theatre Review Pub Date : 2023-01-06 Shimrit Ron
Abstract In this critical reflection, festival director Shimrit Ron discusses the origins of Isra-Drama, the impact of COVID on the showcase, and the new artistic initiatives that responded to the conditions of performance online for an international audience.
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An Irish Perspective on Festival Making in the Context of the COVID-19 Pandemic: The Case of St. Patrick’s Festival Contemporary Theatre Review Pub Date : 2023-01-06 Danielle Lynch
Abstract In December 2021, Danielle Lynch interviewed interim director of St. Patrick’s Festival, Anna McGowan about the experiences and challenges faced by the festival in planning Ireland’s largest arts festival during a global pandemic. The discussion details immediate actions taken by festival organisers in the aftermath of the March 2020 cancellation. The interview also provides an insight into
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To Expand the Possibilities of Performance: Laura Nanni on SummerWorks Contemporary Theatre Review Pub Date : 2023-01-06 Karen Fricker, Melissa Poll
Abstract In her interview with Karen Fricker and Melissa Poll, the artistic director of Tkaronto/Toronto’s SummerWorks Festival, Laura Nanni, discusses how the festival responded to COVID-19 and calls for racial justice in 2020 and beyond.
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Publics and Their Health: La Grande Manifestive, Aurillac, 2021 Contemporary Theatre Review Pub Date : 2023-01-06 David Calder
Abstract In 2021, the International Festival of Street Theatre in Aurillac, France, was cancelled for the second consecutive summer. Amidst the ensuing furore, street theatre artists and their advocates risked conflating public health measures with the oppressive policies of the security state. This essay critically examines the underlying assumptions at work in these arguments and insists on the importance
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Staging International Theatre Festivals in Mid-Pandemic Russia: An Interview with Roman Dolzhanskiy Contemporary Theatre Review Pub Date : 2023-01-06 James Rowson
Abstract Roman Dolzhanskiy speaks to James Rowson about the challenges of organising international theatre festivals in Russia during the COVID-19 pandemic and discusses how the New European Theatre (NET) Festival and Territory Festival have navigated the complex and frequently changing public safety restrictions in Russia.
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The Importance of Congregation Contemporary Theatre Review Pub Date : 2023-01-06 Bryce Lease, Jay Pather
Abstract In this interview with Bryce Lease, Jay Pather discusses the multiple festivals he curates in South Africa, the Netherlands, and France. These include Infecting the City Public Art Festival, the ICA Live Art Festival, Afrovibes, and Season Africa 2020. Focusing on African contexts for performance and congregation, Pather discusses the challenges and opportunities for collaboration and audience
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Philippine Catholic Festivals during the COVID-19 Pandemic: Performing Live in the ‘New’ Normal Contemporary Theatre Review Pub Date : 2023-01-06 Anril Tiatco
Abstract On 16 March 2020, then Philippine President Rodrigo Duterte imposed the Enhanced Community Quarantine putting the main island of Luzon – where Manila, the National Capital Region, is located – on a total lockdown to protect the spread of COVID-19. The lockdown restricted mobility, social gatherings were prohibited, and everyone was mandated to stay inside their homes. Moreover, there was a
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Sixteen Things We Learned about Programming for Film Festivals under COVID Contemporary Theatre Review Pub Date : 2023-01-06 Helen de Witt, Maria M. Delgado, Aduke King, Sarah Lutton, Leigh Singer
Abstract Five programme advisors from the British Film Institute (BFI) London Film Festival offer reflections on film programming during and post COVID. In addition to a discussion on hybrid festivals, the programme advisors also comment on audiences, Q&As, the engagement with filmmakers, and what it means to programme for both virtual and live festival formats.
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LIFT’s Shifts: Concept Touring & Times of Precarity Contemporary Theatre Review Pub Date : 2023-01-06 Kris Nelson
Abstract The London International Festival of Theatre (LIFT) is a biennial festival of theatre, performance, and cultural events. The organisation also supports year-round activity in London. LIFT was founded by Rose Fenton and Lucy Neal, with the first festival in 1981 hoping to ‘challenge British theatre and open a window on the world’. It has been a significant force in internationalising the UK
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The Power of Disruption: The Future Is Creatively Vibrant at Te Ahurei Toi o Tāmaki (Auckland Arts Festival) Contemporary Theatre Review Pub Date : 2023-01-06 Shona McCullagh, Sarah Thomasson
Abstract Shona McCullagh, Artistic Director of Auckland Arts Festival, Te Ahurei Toi o Tāmaki, speaks to Sarah Thomasson about her experience of festival programming during the pandemic and the challenges and opportunities artists and festivals in Aotearoa will face in the future.
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GIFT: Developing New Communities of Work Contemporary Theatre Review Pub Date : 2023-01-06 Kate Craddock, Helen Freshwater
Abstract Gateshead International Festival of Theatre (GIFT) is an annual festival of contemporary performance in Gateshead, in the North East of England. It was founded in 2011 to provide a platform for contemporary performance in the region and as a creative response to Gateshead town centre’s redevelopment. It includes performances, workshops, discussions, and other informal ways for artists and
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Joining a Festival During a Pandemic: Martine Dennewald and Jessie Mill Discuss the Tiohtiá:ke/Montréal-based Festival TransAmériques (FTA) Contemporary Theatre Review Pub Date : 2023-01-06 Karen Fricker, Melissa Poll
Abstract In this interview, Karen Fricker and Melissa Poll speak with Martine Dennewald and Jessie Mill, the new co-directors of the Tiohtiá:ke/Montréal-based Festival TransAmériques (FTA), North America’s largest performing arts festival. Dennewald and Mill discuss how COVID-19 and the global racial reckoning have impacted the FTA, particularly through the festival’s approach to artist–producer partnerships
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Festivals in the COVID Age of Crisis Contemporary Theatre Review Pub Date : 2023-01-06 Roaa Ali, Christopher Balme
Abstract This article examines the impact of COVID on festivals and the future of the industry. Analysing more than 50 items of online news, scholarly reviews and reports, and governmental guidance, this article examines the immediate effects of COVID in the industry as a whole, and particularly on its precarious artists and workforce. It also explores the changing behavioural attitudes towards festivals
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Looking onto the Boulder Contemporary Theatre Review Pub Date : 2023-01-06 Geddy Aniksdal
Abstract Geddy Aniksdal has been a core member of Grenland Friteater, Norway, since the early 1980s. She is an actress, director, and writer and runs the annual Stedsans (Sense of Place) Festival and, along with other company members, the Porsgrunn International Theater Festival. She is also a founder member of the Magdalena Project. In this contemplative essay, Aniksdal reflects poetically on what
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On GIFT (Gateshead International Festival of Theatre) 2022 Contemporary Theatre Review Pub Date : 2023-01-06 Helen Freshwater
The Gateshead International Festival of Theatre (GIFT) has been running since 2011. It is an annual opportunity for audiences and artists to gather and share experimental work with a strong focus on collaboration and conversation. As noted in my interview with the Festival’s Director, Kate Craddock (which is also published in this special issue of CTR), it went online for 2020 and 2021. 2022 marked
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Backpages 32.3-4 Contemporary Theatre Review Pub Date : 2023-01-06 Caridad Svich
Backpages is an opportunity for the academy to engage with theatre and performance practice with immediacy and insight, and for theatre workers and performance artists to engage critically and reflectively on their work and the work of their peers.
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Editorial 32.2 Contemporary Theatre Review Pub Date : 2022-08-23 David Calder, Broderick Chow, Maria M. Delgado, Maggie B. Gale, Bryce Lease, Caridad Svich, Sarah Thomasson
Published in Contemporary Theatre Review (Vol. 32, No. 2, 2022)
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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) Contemporary Theatre Review Pub Date : 2022-08-23 Joanna Mansbridge
Abstract Among the challenges posed by the Anthropocene, perhaps none has been more central than redefining ‘the human’ that this epoch seems to name. It is no secret that the European liberal subject has been the directing force of the Anthropocene and the model from which a global humanity, and its globalising technology, has been envisioned. This essay begins by bringing together a diversity interdisciplinary
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Contemporary Catastrophes: 2010s British Climate Crisis Theatre and Performativity Contemporary Theatre Review Pub Date : 2022-08-23 Alex Watson
Abstract With an understanding of climate crisis as informed by performativity, this article offers an overview of 2010s British climate crisis theatre (or, ‘CCT’). While similar surveys of theatre that depict ecological issues have been written before, the approach this article takes is distinct in its application of performativity, as well as its specificity to theatre in 2010s Britain: a time and
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‘Mr. Blue Sky’ in the West End: Becoming Musical in Our Ladies of Perpetual Succour Contemporary Theatre Review Pub Date : 2022-08-23 Maggie Inchley
Abstract This article explores the role of music in forms of ‘becoming’ in the adaptation of Alan Warner’s novel The Sopranos (1998) for the stage by Lee Hall as Our Ladies of Perpetual Succour (2015). Telling the story of six choirgirls’ visit to Edinburgh for a choir competition, a musical strain in Warner’s novel ameliorates the ‘reprofuturity’ felt by the girls as a pressure leading with deathly
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Shakespeare in Cyborg Theatre: Immersive VR Theatre and the Cyborg-Subject Contemporary Theatre Review Pub Date : 2022-08-23 Jihay Park
Abstract It is only recently that VR has become one of the most sought out technologies to create a narrative experience. However, as David Z. Saltz points out, ‘scholars and practitioners have yet to settle on a name to describe performances that incorporate digital media’. In this article, I extend Jennifer Parker-Starbuck’s concept of ‘cyborg theatre’ to the three technological retellings of Shakespeare
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The Pervasive Real: Virtual Co-Presence in Jordan Tannahill’s YouTube Play rihannaboi95 Contemporary Theatre Review Pub Date : 2022-08-23 Kelsey Jacobson
Abstract Taking Jordan Tannahill’s play rihannaboi95 as case study, this article examines the ways in which digital theatre forms cultivate a unique spectator experience of perceived realness. Specifically, this article examines how the conventions of the YouTube video carry over and impact the audience experience of rihannaboi95, a theatrical monologue told in the style of a YouTube confessional.
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Theatre in Market Economies Contemporary Theatre Review Pub Date : 2022-08-23 Hillary Miller
Published in Contemporary Theatre Review (Vol. 32, No. 2, 2022)
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auralia.space, digital platform for Aural/Oral Dramaturgies: Post-Verbatim, Amplified Storytelling and Gig Theatre in the Digital Age Contemporary Theatre Review Pub Date : 2022-08-23 Adrian Curtin
Published in Contemporary Theatre Review (Vol. 32, No. 2, 2022)
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Backpages 32.2 Contemporary Theatre Review Pub Date : 2022-08-23
Backpages is an opportunity for the academy to engage with theatre and performance practice with immediacy and insight, and for theatre workers and performance artists to engage critically and reflectively on their work and the work of their peers.
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Backpages 32.1 Contemporary Theatre Review Pub Date : 2022-04-27
Backpages is an opportunity for the academy to engage with theatre and performance practice with immediacy and insight, and for theatre workers and performance artists to engage critically and reflectively on their work and the work of their peers.
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Editorial 32.1 Contemporary Theatre Review Pub Date : 2022-04-27 Maria M. Delgado, Maggie B. Gale, Bryce Lease, Caridad Svich, Sarah Thomasson, Broderick Chow
(2022). Editorial 32.1. Contemporary Theatre Review: Vol. 32, No. 1, pp. 1-3.
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Blackness and Self-Imaging: Lorraine O’Grady’s Performance as Mademoiselle Bourgeoise Noire Contemporary Theatre Review Pub Date : 2022-04-27 Vanessa Damilola Macaulay
Abstract The continued lack of visibility and representation of Black women in studies of historical and contemporary performance art not only forces their work to exist within the margins, but their exclusion also exposes broader questions around the terrain for decolonising performance histories. In order to begin to recover interventionist performances by Black women, this article focuses on the
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Project Nationalism and Theatre in Contemporary India Contemporary Theatre Review Pub Date : 2022-04-27 Ashis Sengupta
Abstract The nation as performed by the state has found either endorsement or criticism on the stage in postindependence India. The decolonization drive, undertaken during the 1950s, aimed at identifying performance forms that would define what ‘national theatre’ would be for a free India and thus help reclaim the ‘Indian’ cultural ethos. Nation in contemporary Indian theatre is as much a thematic
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Critical Anachronisms: Wael Shawky’s The Song of Roland: The Arabic Version Contemporary Theatre Review Pub Date : 2022-04-27 Katia Arfara
Abstract This article considers Wael Shawky’s The Song of Roland: The Arabic Version as a key work in the artist’s ongoing investigation of the mechanisms of stereotypical racial and cultural othering from a historical perspective and an Arab point of view. Shawky translates La Chanson de Roland, one of the earliest major works of French literature, into Classical Arabic and stages it as an hour-long
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Multilingualism on the Berlin Stage: The Influence of Language Choice, Linguistic Access and Opacity on Cultural Diversity and Access in Contemporary Theatre Contemporary Theatre Review Pub Date : 2022-04-27 Ulrike Garde
Abstract This article analyses how language choice, linguistic access and opacity in multilingual productions influence theatre institutions’ (inter)cultural and socio-political engagement as well as audiences’ access to and encounters with linguistic and cultural diversity. It uses multilingualism, and the associated use of unfamiliar languages, as a prism for revealing how language use is deeply
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The Węgajty Theatre: From Collectivity to Participation Contemporary Theatre Review Pub Date : 2022-04-27 Joanna Kocemba-Żebrowska, Magdalena Hasiuk-Świerzbińska
Abstract This article charts the evolution of one of the most significant Polish non-institutional theatres, the W#ęgajty Theatre. We focus not only on the artists’ interests, forms, and methods of work on performances, but also on the organizational structure of the theatre and its ensemble. This analysis of the team ethic underpinning W#ęgajty’s working practices and its evolution reveals how some
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‘Who Cares?’: The Neoliberal Problem of Performing Care in Immersive and Participatory Play Contemporary Theatre Review Pub Date : 2022-04-27 Jenn Stephenson
Abstract By using audiences as co-creators of their own experience, participatory theatre becomes imbricated in neoliberal labour practices, characterized by a D-I-Y ethos. At the same time, co-creative audiences are positioned at the privileged centre of a customized, intimate experience that is not only by me, but also for me, and about me. This article explores the tensions between the negative
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Theater as Data: Computational Journeys into Theater Research Contemporary Theatre Review Pub Date : 2022-04-27 E.B. Bradley Hunter
(2022). Theater as Data: Computational Journeys into Theater Research. Contemporary Theatre Review: Vol. 32, No. 1, pp. 101-102.
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Beyond the Happening: Performance Art and the Politics of Communication Contemporary Theatre Review Pub Date : 2022-04-27 Micaela G. Signorelli
(2022). Beyond the Happening: Performance Art and the Politics of Communication. Contemporary Theatre Review: Vol. 32, No. 1, pp. 102-103.
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Theatre of Anger: Radical Transnational Performance in Contemporary Berlin by Olivia Landry Contemporary Theatre Review Pub Date : 2022-04-27 Ann-Christine Simke
(2022). Theatre of Anger: Radical Transnational Performance in Contemporary Berlin by Olivia Landry. Contemporary Theatre Review: Vol. 32, No. 1, pp. 103-104.