Jauría (2019) was the first tribunal verbatim play in Spain and it had a great impact on audiences in the context of heated debate about how national legislation had a long-standing legacy of sexism. Based on the transcripts of the legal proceedings of the La Manada gang-rape case, Jauría not only clarifies this controversial case for different types of audiences, but it also poses very important questions concerning the nature of rape and how the judicial system treats the victims of rape. This article studies the performative force of tribunal verbatim in shaping the audience’s understanding of an actual gang-rape case and indicates how a feedback loop is created in the performance itself, transforming the spectators’ attitudes. Svetlana Antropova is a lecturer at Villanueva University in Madrid. Her recent publications include ‘Filming Trauma: Bodiless Voice and Voiceless Bodies in Beckett’s Eh Joe’, in Elspeth McInnes and Danielle Schaub, eds., What Happened? Re-presenting Traumas, Uncovering Recoveries (Brill/Rodopi 2019), and ‘De/Construction of Visual Stage Image in Samuel Beckett’s Play’ (Anagnórisis: Revista de Investigación Teatral, XXII, 2020). Elisa García Mingo is an associate professor in Sociology at the Universidad Complutense de Madrid and is an associate member of the Centre for Transforming Sexualities and Gender at the University of Brighton.

This article by Adrian Howe is based on a presentation given at the ‘Sources and Methods in Criminology and Criminal Justice Conference’ in November 2015, jointly sponsored by the Institute of Advanced Education and the Socio-Legal Studies Association. She begins by querying whether there are indeed distinct feminist methods in the social sciences. She outlines the impact of what she calls the ‘methodical revolution’ on the criminology discipline, Foucault's contribution and Foucauldian methodologies deployed in criminological and criminal justice research.

Twenty-first-century Russian theatre artists have increasingly taken to using material from real-life events to explore the intricacies of injustice in the civic sphere and its connection to the country's past. In a fifteen-year time span documentary forms have come to the forefront of Russia's theatrical avant-garde. In this article Molly Flynn offers a close reading of one of the most politically charged productions to have emerged from Moscow's booming documentary theatre – One Hour Eighteen: the Trial that Wasn't but Should Have Been (2010). The play uses verbatim texts from the prison and medical staff directly involved in the final days before the murder of Russian attorney Sergei Magnitskii in 2009. Setting the piece in a theatrical courtroom, the creators of One Hour Eighteen place their work in the context of Russia's judicial history in the previous century, during which the resemblance of trials to theatre has often been uncomfortably close. Molly Flynn is a doctoral candidate in Slavonic Studies at the University of Cambridge. She is currently completing her doctoral thesis on the history and significance of documentary theatre in twenty-first-century Russia.