In this interview, Elyssa Livergant and the Precarious Workers Brigade consider the relationship between higher education, the cultural industries and labour through the theme of collaboration.

This issue of Interventions extends some of the ideas and practices behind this quarter’s special issue on ‘Theatre, Performance and the Amateur Turn’.

‘Evocative Objects’ collects the stories and memories behind objects brought by amateur theatre-makers to research workshops.

Nadine Holdsworth interviews 81-year-old Arthur Aldridge about a career that has moved between amateur theatre and the West End.

This slideshow of archival and contemporary images offers a guided tour of amateur theatre in the Royal Navy.

Drawing on interviews and ethnographic research, Molly Flynn reflects on the Royal Shakespeare Company’s Open Stages initiative that involved over 300 amateur theatre companies.

Georgina Guy and Johanna Linsley introduce ideas of permissibility and allowance which frame this special collection of Interventions.

PA Skantze and Laure Fernandez reflect on the modes of permissibility and allowance that attend their movements across national borders, and how these affect their work and lives.

Emma Cox inverts the liberal terms of the editors’ provocation to construct a powerful response to recent European referenda and increasing cultural permissions of exclusion.

Olive McKeon looks at two specific examples where permission is negotiated in real time, among physical bodies: one in a theatre space, and one in a street protest.

Owen G. Parry reflects intimately on the process of writing about his own one-to-one practice and the stakes of spaces of permissibility in performance.

In his Introduction to this issue of Interventions, Adam Alston reflects, post-Brexit, on the prescience of Simon Stephens as an especially European British writer.

Louise LePage uses video as critical medium, assembling a cast of scholars to respond to Billy Smart’s provocation regarding ‘things that always tend to happen in Simon Stephens’ plays’.

Melissa Poll uses this online forum to argue that many criticisms of Stephens’ Three Kingdoms, including the main articles in this special issue, avoid grappling with its ‘modern misogyny’.

Reflecting on her staging of Stephens’ Harper Regan in the United States, Gaye Taylor Upchurch asks: ‘why is a woman with agency still such a scary notion?’

Walter Meierjohann discusses his production of Stephens’ The Funfair for the opening season at HOME, Manchester, in light of nationalist resurgence in the UK.

This issue of Interventions explores what the digital might offer to performance scholarship, practice, and criticism.

In ‘Postmedia Performance’ Sarah Bay-Cheng offers theatre and performance scholarship a provocation to rethink its approach to making sense of the digital.

Using the interactive storytelling tool Twine, Megan Vaughan brings recent performances, public space and spaces of encounter into conversation.

Johanna Linsley talks with artist Brian House about his recent projects and the relationship between data gathering, participatory systems and the performance of the private and public.