Editorial, Spring 2022

Isabel Stuart writes about redaction as a dramatic technique and a theatrical tool for critique in Lucy Kirkwood’s Maryland (2021).

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.

Aline Hernández’s essay argues that re-enactments of feminicide photography in Mexico disrupt necropolitical operations by performing an aesthetics of critical redaction.

Postscript: Melissa Poll on Equity and Inclusion Dramaturgy