Elena Marchevska talks with activists-researchers Nita Çavolli, Jana Jakimovska, and Katerina Mojanchevska about democracy, location, and media in song protests of the Skopje choir Raspeani Skopjani.

In this playful video, Jennifer Parker-Starbuck interviews Tei Blow and Sean McElroy from Royal Osiris Karaoke Ensemble (ROKE) about their use of karaoke, ritual, metaphysics, and media.

Andy Lavender discusses digital culture with Kevin Cunningham, Executive Artistic Director of 3-Legged Dog, NY (USA), and Fiona Morris, Chief Executive of The Space, Birmingham/London (UK).

This issue of Interventions attends to collaboration as a method of theatre-making and scholarship, and as a way of studying their conditions of possibility.

Hillary Miller analyses the curatorial and real estate collusions involved in Coney Island’s Art Walls.

The research collective After Performance explores how vulnerability might productively work against the norm of ‘lonely scholarship’.

Daniel Oliver and Luke Ferris’ video on/of ‘dyspraxic collaboration’ unapologetically performs the generative possibilities of ‘inattentivity’.

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’.