Hancock and Kelly, interviewed by Jennie Klein, on their new performance, An Extraordinary Rendition, with accompanying photos and video excerpts.

Melanie Kloetzel’s post-script ‘Playing Politics’ elaborates on her proposals for site-versatile approaches in performance, which may work to self-reflexively critique conditions of precarity in the neoliberal present.

Drawing on interviews with Clean Break’s co-artistic director Anna Herrmann and playwright Katherine Chandler, Sarah Bartley reflects on representations of women in poverty on the UK stage.

Kirsty Sedgman presents a commentary on Tomlin’s Political Dramaturgies and Theatre Spectatorship, engaging with debates and misunderstandings between empirical and theoretical spectatorship research.

Broderick D.V. Chow, Ella Parry-Davies and Aneta Mancewicz introduce CTR’s new Interventions Postscripts initiative.

In this filmed conversation, David Overend thinks aloud with playwright Keiran Hurley about scales of connectivity linking theatre audiences to an aspirational political collective.

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.

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.