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.

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.

Jonathan Heron discusses his series of projects with the late Beckett theatre scholar and performer, Rosemary Pountney, and the digital iterations and traces of that collaboration.

Nicholas Johnson and Néill O’Dwyer reflect on a series of projects that use virtual reality and other twenty-first century technologies to creatively interpret Beckett’s plays.

Reporting on a symposium they co-organised, Trish McTighe and Kathryn White argue that an analysis of festival culture is an important aspect of the consideration of Beckett’s place within contemporary art.

This issue probes questions of ‘the civic’: the space where citizen meets public. A series of provisional reports from Broderick Chow, Jen Harvie, Simon Bayly, Elaleh Hatami & Sepideh Zarrin Ghalam

Simon Bayly, with Johanna Linsley, probe the state of ‘contact’, relation and non-relation, and the limits of writing for approaching all of these.

Jen Harvie discusses her experience as specialist advisor to an inquiry into skills for theatre for the House of Lords Select Committee on Communications.

Elaheh Hatami and Sepideh Ghalam explore how women dancing in public spaces in post-revolution Iran challenge a state regime that regulates and controls women’s bodies.

Broderick D.V. Chow, Melissa Blanco Borelli, Bryce Lease, Royona Mitra, Grant Peterson, Jennifer Parker-Starbuck, and Joshua Abrams reflect on gaining Indefinite Leave to Remain in the UK.

This issue of Interventions accompanies the Encountering the Digital in Performance special issue. The four pieces explore new approaches to performance and audiences in a changing cultural and political landscape.

Alex McLean and Kate Sicchio reflect on their collaborations around dance and code, focusing on their piece Sound Choreographer <> Body Code, which here uses your computer’s microphone to generate choreographic instructions.

Elena Marchevska talks with activists-researchers Nita Çavolli, Jana Jakimovska, and Katerina Mojanchevska about democracy, location, and media in song protests of the Skopje choir Raspeani Skopjani.

In this playful video, Jennifer Parker-Starbuck interviews Tei Blow and Sean McElroy from Royal Osiris Karaoke Ensemble (ROKE) about their use of karaoke, ritual, metaphysics, and media.

Andy Lavender discusses digital culture with Kevin Cunningham, Executive Artistic Director of 3-Legged Dog, NY (USA), and Fiona Morris, Chief Executive of The Space, Birmingham/London (UK).

This issue of Interventions attends to collaboration as a method of theatre-making and scholarship, and as a way of studying their conditions of possibility.

Hillary Miller analyses the curatorial and real estate collusions involved in Coney Island’s Art Walls.

The research collective After Performance explores how vulnerability might productively work against the norm of ‘lonely scholarship’.

Daniel Oliver and Luke Ferris’ video on/of ‘dyspraxic collaboration’ unapologetically performs the generative possibilities of ‘inattentivity’.