Studies in Theatre & Performance

What do circus zebras, war re-enactments & imperial masculinity have in common? @UysMia & @WildPasts_ trace Frank Fillis’s South African circus horses as political performers—saddled with the weight of Empire. 📷 Mrs Hayes riding a zebra, 1891. 🔗 doi.org/10.1080/146827…

What does it mean to stage a concert of a play? In STP, Naoko Yagi traces how sound, silence, and utterance shape The Gigli Concert across its 1983 and 1991 Abbey Theatre productions—revealing how Murphy’s language sings when heard, not just read. 🔗 doi.org/10.1080/146827…

@DilebJaan explores how plays by Arambam, Kanhailal & Thiyam stage “en/k/counters” between repression and resistance—where myth, memory & performance unsettle official narratives. 📷 Imphal, Manipur, August 2015. © Debanjali Biswas 🔗 doi.org/10.1080/146827…

Feeling together is never simple. In STP, Kelsey Jacobson & Bethany Schaufler-Biback explore how audiences craft—and contest—the emotional fabric of live theatre, from shared joy to subtle exclusions. 🔗 doi.org/10.1080/146827… #AffectTheory #STPJournal #LivePerformance

What can a shield remember? In STP, Liza-Mare Syron examines the gumayi (spear) and yilimung (shield) in The Visitors—as stage objects grounded in Indigenous knowledge, ceremony, and resistance. 🔗 doi.org/10.1080/146827…

How do white coats perform medicine? Yixuan Gao reads Life Matters (2019) through costume studies—showing how doctors’ coats shape clinical identity, strain & care onscreen. 🔗 doi.org/10.1080/146827… 📷 Figure 1. Bo Qin & Shiguang Fan, Life Matters. © Shanghai Media Group

How can theatre be a space for shared knowledge—not just impact? Jonathon Crewe reflects on Under the Radar as a case study in embedding knowledge exchange through co-created performance & post-show dialogue. 🔗 doi.org/10.1080/146827… #PracticeResearch #STPJournal

What do Victorian ghosts want from the future? @ElisavetIoanni2 revisits "Cloud Nine" through hauntology—tracing how Caryl Churchill’s ghosts speak to 1979’s political turn, spectral memory, and today’s unfinished futures. Read in STP: doi.org/10.1080/146827…

How can intermediality reshape how students learn, see, and perform? In her latest for STP, @KatsouNatalie explores intermedial heterotopias—hybrid learning spaces where cameras, screens & identities converge in contextual theatre studies. Read here: doi.org/10.1080/146827…

Can performance help evaluate energy policy? @charlie_ingram3 explores Evaluative Performance as a method to capture youth perspectives on Smart Local Energy Systems—bridging climate policy & participatory arts. Now in STP: doi.org/10.1080/146827… #ClimateJustice #YouthVoices

What happens when a pandemic disrupts a research agenda? Jane Collins reflects on the Southall Ever After Festival, where community-led rethinking during COVID-19 reshaped diasporic identity, participation & cultural heritage. Now in STP: doi.org/10.1080/146827…

How can screens, cameras & digital tools reshape theatre pedagogy? @KatsouNatalie explores intermedial heterotopias as hybrid learning spaces—where students reframe identity, space & context through embodied, media-rich practices. Now in STP: doi.org/10.1080/146827…

How does a hereditary puppetry form survive cultural shift? Sohini Chanda & Archana Patnaik trace how danger putul nach in West Bengal adapts through innovation, oral history & state support—without losing its roots. Now in STP: doi.org/10.1080/146827…

What does it mean to perform by walking through a city’s waste? @priyankapathak0 examines "Yamuna Walk" as embodied performance—where drifting through Delhi’s garbage sites becomes both ethnography and critique of urban exclusion. Now in STP: doi.org/10.1080/146827…

How are race and disability entangled on stage? @pONDERado reads debbie tucker green’s "ear for eye"(2018) as staging “Blackness as disability,” where silence, muteness & marginalisation expose how race is prostheticised in British theatre. Read in STP: doi.org/10.1080/146827…

@GemmaRMKerr explores the role of artists in site-specific art within gentrifying communities, critiquing imposed narratives and advocating for resident-led engagement. 🔗 doi.org/10.1080/146827…

Elif Öztek explores the spatial politics of On İkinci Ev, a feminist Turkish play performed behind glass walls in urban spaces. Blending theatre and architecture, the study reveals how the play critiques patriarchal spatial norms. 🔗 doi.org/10.1080/146827…

@astridbreel redefines agency in participatory performance, distinguishing observed behavior from perceived experience. Using cognitive philosophy and audience research, she argues agency is relational, contextual, and shaped by performance structures. 🔗 doi.org/10.1080/146827…

Marguerite Galizia redefines self-choreography as a relational practice, questioning isolation in solo dance. Drawing on Ettinger’s wit(h)nessing, she explores the shared Borderspace of performer and audience, where movement, time, and gaze coalesce. 🔗 doi.org/10.1080/146827…

In her latest article, Amira I. Ramírez Salgado explores Cuerpo-Territorio through movement, mapping, and contact improvisation. How can the body be understood as a dynamic, relational space of knowledge and resistance? Photo: Kitzia Salgado Read more 👉 doi.org/10.1080/146827…