Editorial, Spring 2022
![Filling the Blank: Redaction as Affective Strategy in Lucy Kirkwood’s Maryland](https://i0.wp.com/www.contemporarytheatrereview.org/wp-content/uploads/2022/03/Aclu-v-ashcroft-redacted.jpeg?resize=199%2C258&ssl=1)
Isabel Stuart writes about redaction as a dramatic technique and a theatrical tool for critique in Lucy Kirkwood’s Maryland (2021).
![Thoughts on redaction and care](https://i0.wp.com/www.contemporarytheatrereview.org/wp-content/uploads/2022/02/unnamed.jpg?resize=360%2C360&ssl=1)
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.
![Doubling Down on the Spectacle: The Performative (After)Lives of Feminicide Photography in Mexico](https://i0.wp.com/www.contemporarytheatrereview.org/wp-content/uploads/2022/03/AH_Image-3.jpeg?resize=360%2C360&ssl=1)
Aline Hernández’s essay argues that re-enactments of feminicide photography in Mexico disrupt necropolitical operations by performing an aesthetics of critical redaction.
![Postscript: Beyond the Optics of Ally-ship](https://i0.wp.com/www.contemporarytheatrereview.org/wp-content/uploads/2022/03/Evangelia-Kambites-post.jpeg?resize=360%2C360&ssl=1)
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.
Summer 2021: Outing Archives, Archives Outing