Editorial by issue editor Eleanor Roberts, with Ella Parry-Davies, Aneta Mancewicz, Bella Poynton, and Broderick Chow

Giulia Palladini theorizes the musical ‘prelude’ as a temporal structure that actualizes possible futures in the present.

Asif Majid reexamines Octopus from “Entangling the British Muslim Woman” through the personal lens of minoritarian positionality, and the exhaustion it can produce specifically for Muslim artists.

Charlotte Cooper’s video and text documents a process of exploring ‘queer feminist fat sensibility, experience and possibility’, which challenges exclusionary and ableist notions of dance.

In the context of Hong Kong protests and her installation & performance in Leipzig, Wir sind das Volk! (December 2019), wen yau reflects on the power of a peaceful revolution and the fragility of freedom.

Fuad Musallam reflects on the post-17 October 2019 Lebanese uprising. Tracing its rhythms through changes to the materiality of downtown Beirut, the affects and expressions of political times emerge.

Editorial by Broderick Chow, Aneta Mancewicz, Ella Parry-Davies, Bella Poynton, and Eleanor Roberts

In the context of her work with Cyrff Ystwyth, a dance-theatre company, Margaret Ames examines kinaesthesic action as an affective and cultural tool that challenges hegemonic distribution of inclusion.

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.

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.