On The Verge: Dramatisation de la violence symbolique dans The Verge de Susan Glaspell by Emeline Jouve

“…This article explores the representations of violence in Susan Glaspell’s play first produced by the Provincetown Players, the amateur theatre group that Glaspell and her husband, George Cram Cook, founded in 1915. …”
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Madame de Genlis on the Victorian Stage by Juan Manuel Ibeas Altamira

“…Beyond an aristocratic audience, other types of theatre-goers’ sensibilities were alluded to in plays such as The Palace of Truth, W. …”
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Tempering Feydeau: Twisting and Guilty Pleasures on the London Stage (1893-1897) by Violaine Heyraud

“…Beginning in 1892, Feydeau established himself in France as the new master of vaudeville comedy. London theatres surrendered to his infectious laughter, producing a number of his plays between 1892 and 1897, though admittedly, carefully selected: The Sportsman, adapted from Monsieur chasse! …”
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"There’d always be something left" : (im)matérialité de la ville dans Hughie de Eugene O’Neill by Aurélie Sanchez

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Shakespeare en prison : le cas d’Avignon by Florence March

“…As in 1947, Shakespeare plays a major role in implementing the festival’s sociopolitical and artistic project with Le Pontet penitentiary. …”
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Comprehensive Analysis of Differentially Expressed miRNAs and mRNAs Reveals That miR-181a-5p Plays a Key Role in Diabetic Dermal Fibroblasts by Peng Liu, Yi Zhu, Qin Li, Biao Cheng

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Réflexions sur l’appropriation du théâtre historique élisabéthain par la scène britannique contemporaine : usages de Macbeth dans Thirteenth Night de Howard Brenton (1981) et Dunsi... by Line Cottegnies

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Non-verbal agents of theatrical retranslation: Women’s identity and the Spanish classics by Jorge Braga Riera

“… Despite the burgeoning interest in literary retranslation, there is still a need to investigate how linguistic, contextual, and personal factors influence the translation of a previously translated (and performed) play into a given target language and culture. This article aims to illuminate the extralinguistic agents (personal, social, performative, paratextual) that specifically intervene in the English retranslation and reception of the Spanish classical play La vida es sueño (Calderón de la Barca, 1636). …”
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Lieu partagé, jeu magnifié : protocole spectaculaire à la pré-Renaissance anglaise by André Lascombes

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Beyond Verbatim: Embodied Truth and the Limits of Language in House Arrest by Mehmet Ünal

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The Spatial-Temporal Canvas That We Call the Stage: Text and Performance in Final Solutions by Ananya Ghoshal, Manivendra Kumar

“…Using a comparative analysis of the stage directions in the play-text by Dattani and a stage production by the Delhi-based Asmita Theatre under the direction of Arvind Gaur, it foregrounds Dattani’s extravagant and complex construction of the stage. …”
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Memory and Recalling in Shelagh Stephenson’s The Memory of Water by Kader Güzel

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Truth's a Dog Must to Kennel by Tim Crouch by Yeliz Biber Vangölü

“…This is a review of Truth’s a Dog Must to Kennel (2022) by the contemporary British theatre practitioner Tim Crouch. Premiered at the Royal Lyceum Theatre as a part of the Edinburgh Fringe Festival in 2022, the play is a direct outcome of Crouch’s experience, both as a human being and a theatre maker, of the COVID-19 pandemic and his thoughts on the death of theatre as an art form during the pandemic. …”
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“They willfully themselves exile from light”: Exile in Space, Stage and Metatheatre in William Shakespeare’s A Midsummer Night’s Dream by Zied Ben Amor

“…The research merges semantic investigations with the semiotics of theatre. Dealing with the matter of exile both from the lenses of literary and theatrical studies offers broader perspectives to understand the play’s nuances and complexities.…”
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Re-imagining the History of British Abolition: The New Historical Consciousness in Winsome Pinnock’s Rockets and Blue Lights by Xiting Qiao

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Eurocentrism, Afrocentrism, Postcolonialism and Hybridity in Lorraine Hansberry’s A Raisin in the Sun and August Wilson’s Radio Golf by Olfa Gandouz

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Deconstructing the Politics of Linguistic Mutation in Tom Stoppard’s Dogg’s Hamlet, Cahoot’s Macbeth by Sarra Jouini

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Politics, Incarceration, and Innocence in Harold Pinter’s One for the Road and Melih Cevdet Anday’s İçerdekiler by Murathan Gündoğdu

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”If you don't care you’ll die” : The Concept of “Liveness” in Arnold Wesker’s Chicken Soup with Barley and John Osborne’s Look Back in Anger by Sarah-jane Coyle

“…The phenomenological concept of “liveness” has a long-standing relationship with theatre and performance studies. This relationship has primarily been limited to questions of ontology; namely, what constitutes the ephemeral nature of theatre and what counts as “liveness” in performance in an increasingly digitised age. …”
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Handbag de Mark Ravenhill (1998) : réincarnation de The Importance of Being Earnest à la fin des années 1990 by Xavier Giudicelli

“…This article focuses on a version of The Importance of Being Earnest which, paradoxically, brings the body centre-stage. The play Handbag by Mark Ravenhill (one of the quintessential writers of so-called “in-yer-face” theatre), first produced at the Lyric Theatre, Hammersmith, in 1998, is a rewriting of The Importance of Being Earnest which shifts the emphasis from the verbal to the physical. …”
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