Editorial, Spring 2022
Isabel Stuart writes about redaction as a dramatic technique and a theatrical tool for critique in Lucy Kirkwood’s Maryland (2021).
Tia-Monique Uzor considers the link between dance and water as she reflects on her personal experiences and her work in Katherine Dunham’s archive as spaces where the past, present and future collide.
Aline Hernández’s essay argues that re-enactments of feminicide photography in Mexico disrupt necropolitical operations by performing an aesthetics of critical redaction.
Postscript: Melissa Poll on Equity and Inclusion Dramaturgy
In this photo-essay and conversation, Rina Arya and Allie Carr explore the strange and magical interiors of theatres closed during the Covid-19 pandemic.
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 >>