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

‘Listening Post’ is a curated collection of artistic projects and critical reflections that offer insight into the performance of the vox populi, the ‘voice of the people’.

David Greig: Dramaturgies of Encounter and Engagement, edited by Jacqueline Bolton
This special issue of Contemporary Theatre Review focuses on the work of contemporary Scottish playwright David Greig.  The issue emerges from a symposium held around the time of the 2014 Scottish independence referendum, and addresses issues of national identity and globalization, utopianism and dissensus, and political engagement and participatory practice.

This issue of Interventions accompanies a special issue of the journal dedicated to the contemporary Scottish playwright and theatre director David Greig.

In this excerpt from a live conversation, Dan Rebellato talks with David Greig about what it’s like to have his work critically analysed and the playwright’s process of writing The Events (2013).

Victoria E. Price offers reflections on the 2015 production of Lanark: A Life in Three Acts, Greig’s adaptation of the 1981 Alasdair Gray novel of postmodern Scottish identity.

Welcome To The Fringe, a collaboration between David Greig, Forest Fringe, and London’s Gate Theatre, supported Palestinian artists in visiting and presenting at the 2015 Edinburgh Festival Fringe.

‘Butterfly Mind’, a performance-text adapted especially for the web, recreates David Greig’s journey on what he calls ‘an adventure in contemporary shamanic soul retrieval’.

This second collection of hand-picked articles from Contemporary Theatre Review‘s archives celebrates the journal’s 25^th anniversary year.  These articles will be freely available for the next six months, until June 2016.

From a close reading of a recent playscript to an analysis of interventions in spectator relations, and from configurations of femininity in Japanese Butoh to the use of ‘play’ in the ceremonies of the Shona people of southern Africa, this latest journal reflects a breadth of contemporary theatre practices as well as a variety of scholarly modes of engagement with them.

In this cross-disciplinary forum, the research project and interactive performance World Factory, directed by Zoë Svendsen, is discussed from multiple perspectives ranging from social geography to marketing.

Brian Lobel and Hannah Maxwell assess The Sick of the Fringe, a Wellcome Trust-funded programme of talks and events exploring the relationship between medicine and the arts at the Edinburgh Festival Fringe.

Special Issue: Theatre, Performance and Activism: Gestures towards an Equitable World
Edited by Jenny Hughes and Simon Parry
The latest print issue combines scholarly articles with contributions from artist-activists to explore the theatrical gestures of protest: gestures that traverse the private and public realms, gestures that manifest the labour of care, gestures of migration and movement, and gestures of solidarity.

This issue of Interventions is focused on activism and performance and accompanies the print journal’s special issue ‘Theatre, performance and activism: gestures towards an equitable world’.

Jenny Hughes and Simon Parry reflect on a collectively authored blogging project on activist performance, in which ‘domestic gestures’ emerged as one of its core themes.

In this interview Shane Boyle and Larry Bogad reflect on the relationship between performance and protest through a critical exploration of the ‘irresistible image’.

Speaking of I.M.E.L.D.A and Robert Leach contribute to a reflection and celebration of Irish writer and performer Margaretta D’Arcy’s ongoing activism.

‘How do we imagine something other than what there is?’ This short film is an edited version of an interview with the vacuum cleaner, an ‘art activist collective of one’.

Special Issue: Electoral Theatre
Edited by Stephen Bottoms and Brenda Hollweg
This edition of Contemporary Theatre Review is timed to coincide with the UK General Election of May 2015. It deals in part with theatre about electoral politics, but also considers electoral politics as a kind of theatre, taking an interdisciplinary approach to affective dimensions of voting, dramaturgical strategies of address, and critiques of broadcast media.

Marilena Zaroulia and Philip Hager compile a ‘lexicon’ on acts of voting, presenting contributions from 26 scholars who explore the ambitions, achievements and economies of voting in Europe.