In this article Katie Lavers and Jon Burtt investigate BLAKflip and Beyond, a programme of workshops set up by the Australian circus company Circus Oz to mentor and support young Aboriginal performers by providing training and pathways into professional circus. Their analysis is contextualized through an examination of the thirty-year history of Circus Oz, most significantly its roots in the progressive and radical politics of the 1970s. The history of notable and successful Aboriginal performers in nineteenth- and twentieth-century Australian circus is also examined, questioning why, given the relative success of Aboriginal circus performers in the recent past, there are almost none working today. Whiteness as a pervasive characteristic of contemporary Australian performance is offered as a possible cause of this absence, while hopes for the future of Aboriginal circus are discussed with Davey Thompson, the new Aboriginal and Torres Strait Island Programme Manager at Circus Oz. Katie Lavers is an adjunct faculty member at Edith Cowan University, author of numerous journal articles, and co-editor (with Peta Tait) of The Routledge Circus Studies Reader (2016). Jon Burtt is a lecturer in Dance and Performance Studies at Macquarie University. He is the author of numerous articles on circus pedagogy, and is an advanced-level circus trainer. Lavers and Burtt are currently co-authoring (with Louis Patrick Leroux) a book on contemporary circus (forthcoming 2019).

This roundtable discussion with Hélène Cixous took place at St John's College, Cambridge, on 20 September 2014 as part of the Cambridge ‘Conference for a Poetics of Critical Political Theatre in Europe’. It was subsequently transcribed and prepared for publication by Joseph Long and Eva Urban to pay homage to the acclaimed critical theorist, novelist, and dramatist Hélène Cixous on her eightieth birthday on 5 June 2017, and to celebrate her important contribution in particular to political European theatre. The conversation centres on the recurring themes of her major plays, many of which were written in creative collaboration with Ariane Mnouchkine and the Théâtre du Soleil, where they were performed. Her epic modern tragedies are deeply concerned with ethics, politics, social criticism, and ideas of utopian social projects and their tragic failures. Here Cixous, with Maria Shevtsova, Joseph Long, Eric Prenowitz, Marta Segarra, and Eva Urban highlight both the passionate political commitment of her plays and their innovative textual and poetic forms within the wider context of Cixous's writings for the theatre.1 The conversation followed a keynote address by NTQ co-editor Maria Shevtsova, attended by Hélène Cixous, prior to the roundtable discussion, and published as ‘Political Theatre in Europe: East to West, 2007–2014’, in New Theatre Quarterly, XXXII, No. 2 (May 2016).

In 2015, the Italian director Romeo Castellucci presented Oedipus the Tyrant at the Schaubühne in Berlin. His staging was based on the German poet-philosopher Friedrich Hölderlin's translation of 1804, which is known for its peculiar linguistic, philosophical, and theatrical approaches to Greek tragedy. In this article Keld Hyldig examines how Castellucci, in a response to Hölderlin's translation and commentaries on the tragedy, staged Oedipus as a theatrical and philosophical confrontation between religious and rational approaches to knowledge. The staging was seemingly simple, showing a group of nuns performing Oedipus in a monastery. However, the nuns’ Christian and feminine performance of the pagan and masculine tragedy was the basis of a metatheatrical complexity, which was reinforced through a film projection showing Romeo Castellucci getting tear gas sprayed in his eyes, making the relation between physical reality and fictional representation problematic. Keld Hyldig is an Associate Professor in Theatre Studies at the University of Bergen. He has published several articles about the Ibsen tradition in Norwegian theatre and is currently working on a monograph on that subject.

Lucia Elizabeth Vestris (1797–1856) and Sara Lane (1822–99) were two pioneering women in nineteenth-century theatre history. Both were accomplished singers who made their names initially in comic and breeches roles and, during periods when theatrical management was almost exclusively confined to men, both ran successful theatre companies in London. Despite these parallels in their professional activities, there are substantial disparities in the scrutiny to which their personal lives were subjected and in how their contemporaries and posterity have memorialized them. In this article, Janice Norwood examines a range of portraits and cartoons of the two women, revealing how the images created and reflected the women's public identities, as well as recording changes in aesthetic practice and social attitudes. She argues that the women's iconology was fundamentally shaped by the contemporary discourse of gender difference. Janice Norwood is Senior Lecturer in English Literature, Drama, and Theatre Studies at the University of Hertfordshire. She has published on various aspects of nineteenth-century theatre history and edited a volume on Vestris for the Lives of Shakespearian Actors series (London: Pickering and Chatto, 2011).

In this article Shulamith Lev-Aladgem focuses on The Bride from the Sea, a community performance by three young Israeli-Palestinian mothers, presented in a sand box in a multi-functional kindergarten in Jaffa in 2008. From the beginning of the creative process, the Jewish facilitator and the performers had to struggle to overcome the various barriers erected by the intricate, oppressive daily life of the young Palestinian women. They eventually managed to perform a ‘short, thin performance’, which, despite resembling a misperformance, had an emotional and even exceptional effect on the audience. This performance is examined as a special kind of women-based community theatre, termed here ‘the bare theatre’, to indicate a form that articulates the bare daily life of women trapped between internal and external oppressive power regimes. Shulamith Lev-Aladgem is chair of the Theatre Arts Department at Tel Aviv University, a trained actress, and a community-based theatre practitioner. Her recent publications include Theatre in Co-Communities: Articulating Power (2010) and Standing Front Stage: Resistance, Celebration, and Subversion in Israeli Community-Based Theatre (2010), as well as articles in Research in Drama Education and Israeli Sociology.

In the many discussions of the different shapes and capacities of the playhouses of Elizabethan and Jacobean London, insufficient attention has been paid to the impact of differing theatre forms upon the spectators. In this article, Andrew Gurr points out that the first Globe on Bankside, built from the timbers of the Theatre in Shoreditch, and the Fortune, erected for Henslowe's company on the other side of the river, just to the north of the City, were both the work of the same builder, Peter Street. He discusses the differences the shapes of the two playhouses – the Globe polygonal, the Fortune square – had on their construction and the spectators’ reception. Because the audience capacity had to be similar, this meant that spectators at the Fortune, especially latecomers, would need to squeeze into corners of the building, with their ability to see and hear what was happening on stage much restricted. In addition to his many books, among them the now classic study, The Shakespearean Stage, 1574–1642 (1992), Andrew Gurr was chief academic advisor in the ‘rebuilding’ of Shakespeare's Globe on the South Bank. He is Professor Emeritus at the University of Reading.

In this article Valerie Lynn Schrader examines the musical Assassins through the rhetorical lenses of public memory and Kenneth Burke's theory of identification. Offering a close textual analysis of the musical's script and cast recording, she argues that Assassins, along with its audiences, serves to co-create a public memory of the men and women who attempted to assassinate Presidents of the United States of America. Her article contends that Assassins creates a chilling consubstantiality between the characters in the musical and theatregoers through Burkean identification, which may cause cognitive dissonance for many audience members. Through identifying key themes in the musical, she argues that these both connect with the assassins' motives and are common human experiences, serving not only to create public memory of the stories, but also to humanize the assassins and create a bond between audience and characters – while the song ‘Something Just Broke’ undermines this connection and encourages audience members to identify with the mourning American public. Valerie Lynn Schrader is Associate Professor of Communications and Interim Director of Academic Affairs at the Schuylkill Campus of the Pennsylvania State University. Her research focuses on rhetorical messages in theatre works, especially musical theatre productions. She is herself a classically trained lyric soprano/soubrette.

In Shobana Jeyasingh's TooMortal, a contemporary dance piece made for historic churches in Britain and Europe, six dancers enact rituals of life's journey. They use the pews as coffins and cradles and in doing so they interact with the architecture and rituals of the church space in new and disruptive ways. In this article Amita Nijhawan utilizes Judith Butler's notion of performativity and Rosi Braidotti's concept of nomadic subjectivity to suggest that through these encounters the dancers construct the church as a space where women can find power, refuge, agency, and perhaps sensuality. The dancers start by engaging with church rituals and imperfectly reiterating them in such a way that the performance takes on a performative function. The dancers’ bodies show the potential for dancing female bodies to disrupt patriarchal spaces and, therefore, the normative social order. Amita Nijhawan is a Teaching Fellow in Dance at the University of Surrey. Among others she has published in Media/Culture Journal, South Asian Popular Culture, and PAJ. She is a kathak and yoga practitioner, and a creative writer.

In this article Michaela Antoniou gives an account of the two prevailing acting schools in ancient Greek tragedy in the twentieth century, as formed and developed by Dimitris Rontiris at the National Theatre and Karolos Koun at the Theatro Technis (Art Theatre). She discusses how these two great theatre masters directed, guided, and taught their actors to perform tragedy, arguing that Rontiris's approach stemmed from a text-based perspective that focused on reciting and pronunciation, while Koun's developed from a physical and emotional approach that prioritzed actors and their abilities. Her article summarizes each director's philosophy regarding the Greek tragedies, and discusses the position of the genre within modern Greek theatre, mapping the process employed by the actors, and analyzing their method in order to illustrate the different perspectives that the two great directors had with regards to approaching and performing a role. Michaela Antoniou completed her PhD at Goldsmiths, University of London, and is currently working as an external collaborator of the Department of Theatre Studies, National and Kapodistrian University of Athens. She has also worked on the stage as an actress and playwright, and is a published author.

In this interview, award-winning actress Jane Lapotaire talks about the process of devel - op ing the central role in Pam Gems's Piaf, for which she won the Tony Award for Best Actress in 1981. She further describes how Gems gave her the chance to play a protagonist for the first time in her career in the British male-dominated theatre of the late 1970s. Gems established herself as a major feminist playwright in the British theatre in 1976 with the production of Dusa, Fish, Stas and Vi, although it was Piaf that brought her international attention and acclaim. Lapotaire discusses the significance of the female mission to create protagonist roles for women in the theatre who did not previously have the opportunity to drive a play's narrative. Esmaeil Najar is a translator, director, and theatre historian. He is currently writing his doctoral dissertation at the Ohio State University on Pam Gems's life and impact on British theatre.

Death denial is a psychological impulse and a cultural attitude that banishes thoughts about death and disavows the reality of personal mortality. In theatre, death denial can function as an unexamined philosophy and conditioning element unless it is foregrounded and challenged. In this article, Adrian Curtin looks at two examples of American experimental theatre that did just that: a 1975 production of Dino Buzzati's 1953 play Un Caso Clinico (A Clinical Case) and Terminal (1969–1971), a collectively created work by the Open Theatre. Buzzati's play is little known, especially in English-language scholarship. This article pairs an obscure work with a canonical work in order to offer new insight into American experimental theatre of the early 1970s, indicating how both productions contributed to the contemporaneous ‘death awareness’ movement, which opened up matters relating to death and dying. These productions highlighted the illogicality and absurdity of death denial, exposing the delusional basis of this attitude and its potentially damaging effects on the individual and society. Adrian Curtin lectures in the Drama Department at the University of Exeter. He is the author of Avant-Garde Theatre Sound: Staging Sonic Modernity (Palgrave, 2014) and multiple essays on theatre sound, musical performance, and modernism. He is the 2015 winner of the Early Career Research Prize, awarded by the Theatre and Performance Research Association.

In the last three decades the English-speaking stage has witnessed an explosion of plays and performances that deal with scientific topics and issues. Along with the increasing popularity of this ‘science play’ phenomenon, theatre and literary scholars have begun to define, contextualize, and categorize these plays, based on the topics, means, and aims that they cover, via analysis of specific works. The result of these attempts are a number of taxonomies provided by Judith Kupferman, Kirsten Shepherd-Barr, Carl Djerassi, and Eva-Sabine Zehelein. In this essay Seyedeh Anahit Kazzazi provides a critical examination of these categorizations in order to demonstrate their assets and difficulties, and suggests a new taxonomy and analytical framework based on text-based drama, perform ance, and the specific function of science in the plays. The essay includes full listings of science plays written after 1990 in the United Kingdom and the USA, categorized according to the taxonomy suggested. Seyedeh Anahit Kazzazi received her doctorate from the University of Sussex in 2017, and is currently examining the intersection between science, literature, philosophy, and theatre.

Online role-playing games are a form of entertainment in which players create characters and improvisationally perform scenes together within a digital virtual world. It has many theatre-like aspects, which raises the question of whether it is in fact a form of theatre. To answer that question, however, one must first have a definition of theatre – an issue with disciplinary consequences – and in this article Tobin Nellhaus develops a definition founded on social ontology, suggesting that theatrical performance, unlike other social practices, replicates society's ontology. From that perspective, online role-playing meets the definition of theatre. But its digital environment raises another set of problems, since embodiment, space, and presence in online role-playing are necessarily unlike what we experience in traditional theatre. Here, Nellhaus brings these three aspects of performance together through the concept of embodied social presence, showing how they operate in both customary theatre and online role-playing. Tobin Nellhaus is an independent scholar who was Librarian for Performing Arts, Media, and Philosophy at Yale University. He has published mainly on the relationship between theatre and communication practices, and on critical realist theory in theatre historiography. He is the General Editor of the third edition of Theatre Histories (London: Routledge, 2016), and the author of Theater, Communication, Critical Realism (New York: Palgrave Macmillan, 2010).

In NTQ 123 (August 2015) Michael Walling, Artistic Director of Border Crossings, wrote about his production of This Flesh is Mine, adapted by Brian Woolland from the Iliad. Here he discusses When Nobody Returns, based on The Odyssey, a co-production with Palestine's Ashtar Theatre that reflected contemporary events in a way that was not allegorical but allusive. He explores how the play related to its 2016 context in terms of the refugee crisis, the idea of occupation, and the concept of return. As well as describing the generation of meaning through the interaction of text and context, the piece explores the production in relation to Border Crossings’ wider programme of work, which also includes community engagement with refugees and policy consultation.When Nobody Returns was written by Brian Woolland and co-produced by Border Crossings, Ashtar Theatre, and the Royal Central School of Speech and Drama. It was funded by Arts Council England, British Council Palestine, RBKC's Nour Festival, Arts University Bournemouth, and Rose Bruford College.

In this article Kate Flaherty examines the sensational contractual dispute that arose between Gustavus Vaughan Brooke and Mary Fanny Cathcart during their Australian colonial tour in 1855. She follows Brooke's attempt to use his theatrical repertoire to achieve and consolidate a legal victory over Cathcart, but argues that this strategy ultimately backfired and elicited a form of judgement by the theatregoing public that countered the judgement handed down by the Supreme Court. Conversely, coverage of the case in Australian newspapers is identified as shaping reviews and sharpening the edge of the stage dramas. The article provides a focused instance of the complex interplay of dramatic works, cultural politics, gendered power, and publicity that characterized nineteenth-century theatrical touring. Kate Flaherty is a lecturer in English and Drama at the Australian National University, a member of the International Shakespeare Conference, and a Senior Fellow of the Higher Education Academy. She is author of Ours as We Play It: Australia Plays Shakespeare (University of Western Australia Press, 2011), as well as numerous essays on how Shakespeare's works play on the stage of public culture.

In this article, Oliver Double examines the process of turning traumatic personal experience into viable stand-up comedy material by offering a detailed account of the creative process behind his 2015 show Break a Leg. Drawing on Bergson, Brecht, and Noël Carroll, he explores the origins of comic ideas in personal observation, and argues for a two-stage process of joke creation. This is fleshed out in a detailed examination of a particular routine, in which he uses Koestler's concept of bisociation to show how an initial observation was shaped into a series of punchlines. He also discusses authenticating strategies which comedians employ to demonstrate that they are recalling their actual experiences, and ways in which the dialogic qualities of stand-up affect empathy and intimacy. Oliver Double is a former professional comedian who is now a Reader in Drama at the University of Kent. He is the author of Stand-Up! On Being a Comedian (1997), Britain Had Talent: a History of Variety Theatre (2012), and Getting the Joke: the Inner Workings of Stand-Up Comedy (2nd edition, 2014). A film of Break a Leg is available on YouTube, and the related podcast Breaking a Leg is accessible via iTunes.

In this article Stephen Wilmer applies Deleuze and Guattari's concept of nomadology to the Fluxus art movement that spread across the world, breaking down barriers between art and life, privileging concrete and conceptual art, and staging unusual events. He traces Rosi Braidotti's development of Deleuze and Guattari's concept into her notion of the nomadic subject in which she favours factors such as geographic movement, transnational identities, common space (in accord with the Deleuzian differentiation between the divisible earth or private property, and nomadic space which belongs to everyone), polylingualism, desubjectivation, becoming minoritarian, and thinking and acting differently. With this as a philosophical and political context, the author investigates some of the artistic practices of specific Fluxus practitioners, especially the shamanistic performances and fat and felt installations of Joseph Beuys that supposedly owed their inspiration to his experience with nomadic Tatars. Stephen Wilmer is Professor Emeritus of Drama at Trinity College Dublin. He co-edited (with Audronė Žukauskaitė) Resisting Biopolitics: Philosophical, Political, and Performative Strategies (Routledge, 2016) and Deleuze and Beckett (Palgrave Macmillan, 2015). He edited ‘Theatre and the Nomadic Subject’ for Nordic Theatre Studies (2015), and co-edited (with Azadeh Sharifi) ‘Theatre and Statelessness in Europe’ for Critical Stages (2016).

Adaptation in contemporary performance takes on different forms and engages various strategies. In this article, Frank Camilleri explores the subject in terms of compositional devising via his practice as research in the area. He considers adaptation as a process of adjustment and modification that occurs at the level of format or organization, and which results from a change in context. He proposes terminological and structural frameworks, namely types, movements, modes, and phases of adaption. These taxonomies are then subsequently exemplified through three case studies from the author's performance and pedagogical work. Frank Camilleri is Associate Professor in Theatre Studies at the University of Malta, where he is Director of the School of Performing Arts and leads P21 (Performance 21), the research centre for Twenty-first Century Studies in Performance. He is Artistic Director of Icarus Performance Project and co-edits the Routledge/Icarus ‘Theatre as a Laboratory’ series.

In this article David Barnett explores the Berliner Ensemble's production in 1956 of Synge's classic The Playboy of the Western World. Although it was directed by Peter Palitzsch and Manfred Wekwerth, Bertolt Brecht, the company's co-founder, loomed large in planning and rehearsal. This staging serves as an example of how a politicized approach to theatre-making can bring out relationships, material conditions, and power structures that the play's production history has often ignored. In addition, Barnett aims to show how Brechtian methods can be applied more generally to plays not written in the Brechtian tradition and the effects they can achieve. David Barnett is Professor of Theatre at the University of York. He is the author of Heiner Müller's ‘The Hamletmachine’ (Routledge, 2016), A History of the Berliner Ensemble (Cambrige, 2015) and Brecht in Practice: Theatre, Theory, and Performance (Bloomsbury, 2014). His recent AHRC-funded ‘Brecht in Practice: Staging Drama Dialectically’, led to a Brechtian production of Patrick Marber's Closer, and he offers theatre-makers and teachers workshops on using Brecht's method on stage and in the classroom.

Martin McDonagh's The Pillowman dramatizes the interrogation and torture of a horror fiction writer, Katurian, whose stories have been re-enacted in ‘real’ life without his knowledge. The audience gradually finds out that the murders are the crimes of Michal, Katurian's mentally retarded brother, who had been physically tortured by his parents in childhood, until Katurian murdered them. Upon Michal's confession, Katurian has to kill his brother to save him from the suffering and torture to come. Subsequently, it becomes clear that the two interrogators also suffer from the violent childhoods they re-enact with the violence they inflict on their suspects. It appears that all kinds of violence in the play are somehow justified, and treated in such a complex way that it becomes hard to draw boundaries between victims and perpetrators. The depiction of violence can, however, also be examined in dimensions that trigger and shape each other: the violence of the totalitarian state directed against the individual and the artist; domestic violence; the fictional violence found in Katurian's stories. Read through Slavoy Žižek's theory of violence, which also highlights the interconnected nature of its several kinds, The Pillowman can be observed to create a panoramic view of its subject. Mahinur Akşehir-Uygur is an Assistant Professor in the Department of English, Manisa Celal Bayar University in Manisa, Turkey. Her areas of interest are satirical literature, contemporary fiction, and women's literature.