Ian Farnell looks at the idea of “genre snobbery” in relation to contemporary theatre engaging with science fiction. Because in space, nobody can hear you say you didn’t “get” it.

Amy Bryzgel examines examples of participatory art in communist Eastern Europe, showing how artists in different countries deployed a range of inventive methods to subvert their surveillance states.

Anticipating the opening of Hartshorn – Hook and Alexander Wright’s immersive adaptation of The Wolf of Wall Street, Adam Alston explores ideas of safety, risk, and speculation in the immersive experience industry.

Read the latest issue of this international peer-reviewed journal that engages with the crucial issues and innovations in theatre today. Each issue includes in-depth articles addressing a range of topics and forms, reflections on the creative process collected in the Documents section, book reviews, and Backpages, a forum for immediate responses to current events from scholars and practitioners. The latest issue is available on Taylor & Francis Online  >>

In his performative text ‘Leaving a Secret Place’, Raafat Majzoub explores how to shift through transitions between the competing fictive worlds of the powerful and the marginalised.

Read the latest issue of this international peer-reviewed journal that engages with the crucial issues and innovations in theatre today. Each issue includes in-depth articles addressing a range of topics and forms, reflections on the creative process collected in the Documents section, book reviews, and Backpages, a forum for immediate responses to current events from scholars and practitioners.

Edited by Sarah Gorman, Geraldine Harris & Jen Harvie
Drawing on examples from around the globe, and including a range of forms of theatre, burlesque, performance art and political action, this special issue celebrates “Feminisms Now”.

Some of New York company Half Straddle were once students of Gwendolyn Alker; now she takes her current students to see their work. Here she reflects on their ‘gloriously queer’ aesthetics and lineages of feminism.

With its hip-hop aesthetics and colour conscious casting, Lin Manuel Miranda’s Hamilton: An American Musical is an international phenomenon – but, Clare Chandler asks, what agency does it give its female characters?

“Because softness means being careful with one’s self”, an audio work by Jessica Worden, both describes and enacts an aesthetics (and ethics) of softness, vulnerability and care.

Read the latest issue of this international peer-reviewed journal that engages with the crucial issues and innovations in theatre today. Each issue includes in-depth articles addressing a range of topics and forms, reflections on the creative process collected in the Documents section, book reviews, and Backpages, a forum for immediate responses to current events from scholars and practitioners.

Duška Radosavljević introduces this special issue of CTR Interventions on the controversial European theatre director Oliver Frljić.

Oliver Frljić discusses his early encounters with the theatre in Split and Zagreb, key productions in his oeuvre, and international collaborations.

Andrej Mirčev explores the controversy that greeted Our Violence and Your Violence (2016) when it premiered in Split, Croatia, through Jacques Rancière’s concept of dissensus.

Aljoscha Begrich, dramaturg at Gorki Theater Berlin, reflects on the many Frljić productions and many Frljić’s he has encountered before working on the new Gorki – Alternative für Deutschland.

Agnieszka Jakimiak, dramaturg on The Curse, reflects on that production and its controversy, arguing that Frljić’s work attempts to dismantle the complicity of representation with power.

Bryce Lease discusses the protests that followed the premiere of Klątwa (The Curse) in Warsaw, in the context of political transformations and firings of artistic directors in Poland.

Special issue: Staging Beckett and Contemporary Theatre and Performance Cultures
Edited by Anna McMullan & Graham Saunders
This special issue of Contemporary Theatre Review reflects on how selected contemporary theatre and performance practices and discourses have engaged with or been influenced by the work of Samuel Beckett.

Anna McMullan introduces the set of Interventions published alongside this special issue on Staging Beckett and Contemporary Theatre and Performance Cultures, co-edited with Graham Saunders.

Derval Tubridy explores questions of neurodiversity and agency in the performance of Beckett’s Not I by Jess Thom of Touretteshero.