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Theatre Research International is a peer-reviewed journal published by Cambridge University Press, covering Theatre and Performance Studies, Diverse Scientific and Economic Studies, Shakespeare, Adaptation, and Literary Criticism.
| Publisher | Cambridge University Press |
|---|---|
| Reference style | Numbered Numbered — [1], [2] in the text [1] A. Smith, B. Jones, and C. Lee, A representative article title, Theatre Research International 12 (2023) 45–58.
Formats any DOI in the closest standard style — Theatre Research International has no published style definition, so this is an approximation. No sign-up. |
| Publishes research in | Theatre and Performance Studies Diverse Scientific and Economic Studies Shakespeare, Adaptation, and Literary Criticism Irish and British Studies Theater, Performance, and Music History |
| ISSN | 0307-8833 |
| Citation impact (2-yr) | 0.1 |
| h-index | 29 |
| i10-index | 116 |
| Total citations | 4,492 |
| Top institutions publishing here | University of Glasgow |
| Journal website | www.cambridge.org |
| You get | A submission-ready PDF and the editable LaTeX source — ready to submit. |
Citations each year’s papers have accumulated so far — the most recent years are still building up.
This article considers what might be implied in the term ‘immersive theatre’, asking what kinds of ‘interior’ audiences are invited to become immersed in. To facilitate my argument I draw on performances by two London-based theatre companies, Shunt and Punchdrunk, as examples of immersive theatre which use architectural interiors: extensive environments which audiences explore in…
Researchers who seek to capture and analyse audiences’ responses are facing a dilemma. In a political climate beleaguered by efforts to delegitimize expertise, what are the implications for a research tradition that seeks to understand cultural value from a range of diverse perspectives? In light of visibility generated by the 2009 publication of Helen Freshwater's…
It has long been believed that the style of comedy depicted on southern Italian vases of the fourth century BC was a local Italiote form called phylax . A. D. Trendall, the leading authority on the vases, has consistently taken the view that the plays were ‘impromptu’ performances, ‘in which light, movable sets could be…
An interesting incident at one of the London theatres, which has been overlooked by theatre historians, is recorded in the Historical Collections of Nehemiah Wallington, a citizen and turner of London. Wallington (1598–1658) operated a small independent business in Eastcheap and, in common with many other contemporaries of middling station, had a very pious cast…
The analysis of theatrical performance has always provided a problem of particular difficulty to semiotic theory, for a variety of reasons—the ephemerality of the event, the complexity of the interrelationships of so many communicative channels, the almost infinite variety of physical realizations that may be generated from a single written script, the phenomenological concerns generated…
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