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<p class="MsoNormal">Dear Colleagues,<br>
<br>
<span style="font-size:10.5pt;font-family:"Helvetica",sans-serif;color:#1C1E21">The new issue of Theatre Research International, Volume 44 Issue 3, is now available. Visit </span><a href="https://www.cambridge.org/core/journals/theatre-research-international/latest-issue?fbclid=IwAR3EX1uefr1w9yK3j5zABNxzKJiIlpWwRSfm0D7kRjTqSRKcVejRdsofUPE" target="_blank"><span style="font-size:10.5pt;font-family:"Helvetica",sans-serif;color:#385898">https://www.cambridge.org/…/theatre-research-i…/latest-issue</span></a><span style="font-size:10.5pt;font-family:"Helvetica",sans-serif;color:#1C1E21"> to
 read the exciting articles and a dossier of writings focussed on contemporary theatre and performance in Turkey.</span> <br>
<i><br>
Editorial<br>
<br>
</i><o:p></o:p></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;margin-left:0in;text-indent:-.25in;line-height:14.25pt;mso-list:l3 level1 lfo1;vertical-align:baseline">
<![if !supportLists]><span style="font-size:10.0pt;font-family:Symbol;color:#333333"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">        
</span></span></span><![endif]><b><span style="font-size:10.5pt;font-family:"Helvetica",sans-serif;color:#333333"><a href="https://www.cambridge.org/core/journals/theatre-research-international/article/editorial-scenes-of-political-crisis/E0A4152AB54808C9B90955C2A6005D19"><span style="font-family:"inherit",serif;color:#006FCA;border:none windowtext 1.0pt;padding:0in">Editorial:
 Scenes of Political Crisis</span></a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="margin-left:0in;text-indent:-.25in;line-height:13.5pt;mso-list:l3 level1 lfo1;vertical-align:baseline">
<![if !supportLists]><span style="font-size:10.0pt;font-family:Symbol;color:#595959"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">        
</span></span></span><![endif]><span style="font-size:10.0pt;font-family:"Helvetica",sans-serif;color:#595959"><a href="https://www.cambridge.org/core/search?filters%5BauthorTerms%5D=FINTAN%20WALSH&eventCode=SE-AU"><span style="font-family:"inherit",serif;color:#006FCA;border:none windowtext 1.0pt;padding:0in">FINTAN
 WALSH</span></a><o:p></o:p></span></p>
<p class="MsoNormal"><i><br>
Articles</i><br clear="all">
<o:p></o:p></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;margin-left:0in;text-indent:-.25in;line-height:14.25pt;mso-list:l2 level1 lfo2;vertical-align:baseline">
<![if !supportLists]><span style="font-size:10.0pt;font-family:Symbol;color:#333333"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">        
</span></span></span><![endif]><b><span style="font-size:10.5pt;font-family:"Helvetica",sans-serif;color:#333333"><a href="https://www.cambridge.org/core/journals/theatre-research-international/article/when-social-policy-meets-performance-practice-interculturalism-the-european-union-and-the-migratory-and-refugee-crisis/A187E2CC977A3D0D12099EFC147DE7C4"><span style="font-family:"inherit",serif;color:#006FCA;border:none windowtext 1.0pt;padding:0in">When
 Social Policy Meets Performance Practice: Interculturalism, the European Union and the ‘Migratory and Refugee Crisis’</span></a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="margin-left:0in;text-indent:-.25in;line-height:13.5pt;mso-list:l2 level1 lfo2;vertical-align:baseline">
<![if !supportLists]><span style="font-size:10.0pt;font-family:Symbol;color:#595959"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">        
</span></span></span><![endif]><span style="font-size:10.0pt;font-family:"Helvetica",sans-serif;color:#595959"><a href="https://www.cambridge.org/core/search?filters%5BauthorTerms%5D=CHARLOTTE%20MCIVOR&eventCode=SE-AU"><span style="font-family:"inherit",serif;color:#006FCA;border:none windowtext 1.0pt;padding:0in">CHARLOTTE
 MCIVOR</span></a><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left:0in;text-indent:-.25in;line-height:13.5pt;mso-list:l2 level1 lfo2;vertical-align:baseline">
<![if !supportLists]><span style="font-size:10.0pt;font-family:Symbol;color:#595959"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">        
</span></span></span><![endif]><span style="font-size:10.0pt;font-family:"Helvetica",sans-serif;color:#595959"><a href="https://www.cambridge.org/core/journals/theatre-research-international/article/performing-iraqijewish-history-on-the-israeli-stage/A5809AB1BBE195522E1053FBF1A4E6BE"><b><span style="font-size:10.5pt;font-family:"inherit",serif;color:#006FCA;border:none windowtext 1.0pt;padding:0in">Performing
 Iraqi-Jewish History on the Israeli Stage</span></b></a><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left:0in;text-indent:-.25in;line-height:13.5pt;mso-list:l2 level1 lfo2;vertical-align:baseline">
<![if !supportLists]><span style="font-size:10.0pt;font-family:Symbol;color:#595959"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">        
</span></span></span><![endif]><span style="font-size:10.0pt;font-family:"Helvetica",sans-serif;color:#595959"><a href="https://www.cambridge.org/core/search?filters%5BauthorTerms%5D=NAPHTALY%20SHEM-TOV&eventCode=SE-AU"><span style="font-family:"inherit",serif;color:#006FCA;border:none windowtext 1.0pt;padding:0in">NAPHTALY
 SHEM-TOV</span></a><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;margin-left:0in;text-indent:-.25in;line-height:14.25pt;mso-list:l6 level1 lfo3;vertical-align:baseline">
<![if !supportLists]><span style="font-size:10.0pt;font-family:Symbol;color:#333333"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">        
</span></span></span><![endif]><b><span style="font-size:10.5pt;font-family:"Helvetica",sans-serif;color:#333333"><a href="https://www.cambridge.org/core/journals/theatre-research-international/article/workshop-negative-political-theatre-in-zimbabwe-in-the-1980s/5E9D1B66F6D23B3C24A46145165AB8BE"><i><span style="font-family:"inherit",serif;color:#006FCA;border:none windowtext 1.0pt;padding:0in">Workshop
 Negative</span></i><span style="font-family:"inherit",serif;color:#006FCA;border:none windowtext 1.0pt;padding:0in">: Political Theatre in Zimbabwe in the 1980s</span></a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="margin-left:0in;text-indent:-.25in;line-height:13.5pt;mso-list:l6 level1 lfo3;vertical-align:baseline">
<![if !supportLists]><span style="font-size:10.0pt;font-family:Symbol;color:#595959"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">        
</span></span></span><![endif]><span style="font-size:10.0pt;font-family:"Helvetica",sans-serif;color:#595959"><a href="https://www.cambridge.org/core/search?filters%5BauthorTerms%5D=NAILA%20KELETA-MAE&eventCode=SE-AU"><span style="font-family:"inherit",serif;color:#006FCA;border:none windowtext 1.0pt;padding:0in">NAILA
 KELETA-MAE</span></a><o:p></o:p></span></p>
<p class="MsoNormal"><i><span style="font-family:"Helvetica",sans-serif;color:#595959">Dossier: Contemporary Theatre and Performance in Turkey</span></i><span style="font-family:"Helvetica",sans-serif;color:#595959"><br>
<br>
</span><o:p></o:p></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;margin-left:0in;text-indent:-.25in;line-height:14.25pt;mso-list:l1 level1 lfo4;vertical-align:baseline">
<![if !supportLists]><span style="font-size:10.0pt;font-family:Symbol;color:#333333"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">        
</span></span></span><![endif]><b><span style="font-size:10.5pt;font-family:"Helvetica",sans-serif;color:#333333"><a href="https://www.cambridge.org/core/journals/theatre-research-international/article/in-search-of-a-new-performativity-after-gezi-on-symbolic-politics-and-new-dramaturgies-in-turkey/EDC32F3BC215348D906413961ED1E47B"><span style="font-family:"inherit",serif;color:#006FCA;border:none windowtext 1.0pt;padding:0in">In
 Search of a New Performativity after Gezi: On Symbolic Politics and New Dramaturgies in Turkey</span></a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="margin-left:0in;text-indent:-.25in;line-height:13.5pt;mso-list:l1 level1 lfo4;vertical-align:baseline">
<![if !supportLists]><span style="font-size:10.0pt;font-family:Symbol;color:#595959"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">        
</span></span></span><![endif]><span style="font-size:10.0pt;font-family:"Helvetica",sans-serif;color:#595959"><a href="https://www.cambridge.org/core/search?filters%5BauthorTerms%5D=PIETER%20VERSTRAETE&eventCode=SE-AU"><span style="font-family:"inherit",serif;color:#006FCA;border:none windowtext 1.0pt;padding:0in">PIETER
 VERSTRAETE</span></a><o:p></o:p></span></p>
<p class="MsoNormal"><i><span style="font-family:"Helvetica",sans-serif;color:#595959">Reflections on Turkish Theatre</span></i><o:p></o:p></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;margin-left:0in;text-indent:-.25in;line-height:14.25pt;mso-list:l4 level1 lfo5;vertical-align:baseline">
<![if !supportLists]><span style="font-size:10.0pt;font-family:Symbol;color:#333333"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">        
</span></span></span><![endif]><b><span style="font-size:10.5pt;font-family:"Helvetica",sans-serif;color:#333333"><a href="https://www.cambridge.org/core/journals/theatre-research-international/article/introduction/509240E4442E674D0FB6FEB0AD9C6932"><span style="font-family:"inherit",serif;color:#006FCA;border:none windowtext 1.0pt;padding:0in">Introduction</span></a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="margin-left:0in;text-indent:-.25in;line-height:13.5pt;mso-list:l4 level1 lfo5;vertical-align:baseline">
<![if !supportLists]><span style="font-size:10.0pt;font-family:Symbol;color:#595959"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">        
</span></span></span><![endif]><span style="font-size:10.0pt;font-family:"Helvetica",sans-serif;color:#595959"><a href="https://www.cambridge.org/core/search?filters%5BauthorTerms%5D=SEDA%20ILTER&eventCode=SE-AU"><span style="font-family:"inherit",serif;color:#006FCA;border:none windowtext 1.0pt;padding:0in">SEDA
 ILTER</span></a><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;margin-left:0in;text-indent:-.25in;line-height:14.25pt;mso-list:l0 level1 lfo6;vertical-align:baseline">
<![if !supportLists]><span style="font-size:10.0pt;font-family:Symbol;color:#333333"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">        
</span></span></span><![endif]><b><span style="font-size:10.5pt;font-family:"Helvetica",sans-serif;color:#333333"><a href="https://www.cambridge.org/core/journals/theatre-research-international/article/origins-and-developments-a-brief-overview/F3729C570225236DD9F89ECC846C8600"><span style="font-family:"inherit",serif;color:#006FCA;border:none windowtext 1.0pt;padding:0in">Origins
 and Developments: A Brief Overview</span></a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="margin-left:0in;text-indent:-.25in;line-height:13.5pt;mso-list:l0 level1 lfo6;vertical-align:baseline">
<![if !supportLists]><span style="font-size:10.0pt;font-family:Symbol;color:#595959"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">        
</span></span></span><![endif]><span style="font-size:10.0pt;font-family:"Helvetica",sans-serif;color:#595959"><a href="https://www.cambridge.org/core/search?filters%5BauthorTerms%5D=%C3%96ZLEM%20HEMI%C5%9E&eventCode=SE-AU"><span style="font-family:"inherit",serif;color:#006FCA;border:none windowtext 1.0pt;padding:0in">ÖZLEM
 HEMIŞ</span></a><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;margin-left:0in;text-indent:-.25in;line-height:14.25pt;mso-list:l5 level1 lfo7;vertical-align:baseline">
<![if !supportLists]><span style="font-size:10.0pt;font-family:Symbol;color:#333333"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">        
</span></span></span><![endif]><b><span style="font-size:10.5pt;color:#333333"><a href="https://www.cambridge.org/core/journals/theatre-research-international/article/turkeys-future-state-of-theatre/8321D68A7AC0466E6CDCFE876D02B68D"><span style="font-family:"inherit",serif;color:#006FCA;border:none windowtext 1.0pt;padding:0in">Turkey's
 Future State (of) Theatre</span></a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="margin-left:0in;text-indent:-.25in;line-height:13.5pt;mso-list:l5 level1 lfo7;vertical-align:baseline">
<![if !supportLists]><span style="font-size:10.0pt;font-family:Symbol;color:#595959"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">        
</span></span></span><![endif]><span style="font-size:10.0pt;color:#595959"><a href="https://www.cambridge.org/core/search?filters%5BauthorTerms%5D=PIETER%20VERSTRAETE&eventCode=SE-AU"><span style="font-family:"inherit",serif;color:#006FCA;border:none windowtext 1.0pt;padding:0in">PIETER
 VERSTRAETE</span></a><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:0in;margin-right:0in;margin-bottom:6.0pt;margin-left:0in;text-indent:-.25in;line-height:13.5pt;mso-list:l5 level1 lfo7;vertical-align:baseline">
<![if !supportLists]><span style="font-size:10.0pt;font-family:Symbol;color:#595959"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">        
</span></span></span><![endif]><span style="font-size:10.0pt;color:#595959"><o:p> </o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;margin-left:0in;text-indent:-.25in;line-height:14.25pt;mso-list:l5 level1 lfo7;vertical-align:baseline">
<![if !supportLists]><span style="font-size:10.0pt;font-family:Symbol;color:#333333"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">        
</span></span></span><![endif]><b><span style="font-size:10.5pt;color:#333333"><a href="https://www.cambridge.org/core/journals/theatre-research-international/article/an-obscure-performance-in-life-and-education/1303A7D629AF57FBA3F3E799AEE9FF35"><span style="font-family:"inherit",serif;color:#006FCA;border:none windowtext 1.0pt;padding:0in">An
 Obscure Performance in Life and Education</span></a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="margin-left:0in;text-indent:-.25in;line-height:13.5pt;mso-list:l5 level1 lfo7;vertical-align:baseline">
<![if !supportLists]><span style="font-size:10.0pt;font-family:Symbol;color:#595959"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">        
</span></span></span><![endif]><span style="font-size:10.0pt;color:#595959"><a href="https://www.cambridge.org/core/search?filters%5BauthorTerms%5D=ZEYNEP%20G%C3%9CNS%C3%9CR%20Y%C3%9CCEIL&eventCode=SE-AU"><span style="font-family:"inherit",serif;color:#006FCA;border:none windowtext 1.0pt;padding:0in">ZEYNEP
 GÜNSÜR YÜCEIL</span></a><br>
<br>
<br>
<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;margin-left:0in;text-indent:-.25in;line-height:14.25pt;mso-list:l5 level2 lfo7;vertical-align:baseline">
<![if !supportLists]><span style="font-size:10.0pt;font-family:"Courier New";color:#333333"><span style="mso-list:Ignore">o<span style="font:7.0pt "Times New Roman"">   
</span></span></span><![endif]><b><span style="font-size:10.5pt;font-family:"Helvetica",sans-serif;color:#333333"><a href="https://www.cambridge.org/core/journals/theatre-research-international/article/contemporary-dance-field-in-turkey-in-the-twentyfirst-century/A4DD409809816475173040AF9351C118"><span style="font-family:"inherit",serif;color:#006FCA;border:none windowtext 1.0pt;padding:0in">The
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</span></span></span><![endif]><b><span style="font-size:10.5pt;font-family:"Helvetica",sans-serif;color:#333333"><a href="https://www.cambridge.org/core/journals/theatre-research-international/article/theatre-audiences-a-theory-of-production-and-reception-second-edition-by-susan-bennett-london-routledge-1997-pp-ix-248-26393996-pb/FFE87FDF076EAFCA4E03EDFF2C87CEA2"><i><span style="font-family:"inherit",serif;color:#006FCA;border:none windowtext 1.0pt;padding:0in">Theatre
 Audiences: A Theory of Production and Reception. Second edition</span></i><span style="font-family:"inherit",serif;color:#006FCA;border:none windowtext 1.0pt;padding:0in">. By Susan Bennett. London: Routledge, 1997. Pp. ix + 248. £26.39/$39.96 Pb.</span></a><o:p></o:p></span></b></p>
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 Sedgman</span></a><o:p></o:p></span></p>
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<p class="MsoNormal"><b><span style="font-size:8.0pt;font-family:"Arial",sans-serif;color:black">Marcus Tan (Dr)
</span></b><span style="font-size:8.0pt;font-family:"Arial",sans-serif;color:red">|</span><span style="font-size:8.0pt;font-family:"Arial",sans-serif;color:black"> Assistant Professor
</span><span style="font-size:8.0pt;font-family:"Arial",sans-serif;color:red">| </span>
<span style="font-size:8.0pt;font-family:"Arial",sans-serif;color:black">Visual and Performing Arts
</span><span style="font-size:8.0pt;font-family:"Arial",sans-serif;color:red">|</span><span style="font-size:8.0pt;font-family:"Arial",sans-serif;color:black"> National Institute of Education
</span><span style="font-size:8.0pt;font-family:"Arial",sans-serif;color:red">|</span><span style="font-size:8.0pt;font-family:"Arial",sans-serif;color:black"> Associate Editor,
<i>Journal of Interdisciplinary Voice Studies</i> </span><span style="font-size:8.0pt;font-family:"Arial",sans-serif;color:red">|</span><span style="font-size:8.0pt;font-family:"Arial",sans-serif;color:black"> Convenor, Music Theatre Working Group, International
 Federation for Theatre Research </span><span style="font-size:8.0pt;font-family:"Arial",sans-serif;color:red">|</span><span style="font-size:8.0pt;font-family:"Arial",sans-serif;color:black"> Online Content Editor,
<i>Theatre Research International</i><br>
NIE 03-03-61, 1 Nanyang Walk, Singapore 637616 <br>
Tel: (65) 6790-3552 </span><span style="font-size:8.0pt;font-family:"Arial",sans-serif;color:gray">GMT+8h</span><span style="font-size:8.0pt;font-family:"Arial",sans-serif;color:black">
</span><span style="font-size:8.0pt;font-family:"Arial",sans-serif;color:red">|</span><span style="font-size:8.0pt;font-family:"Arial",sans-serif;color:black"> Fax: (65) 6896-9143
</span><span style="font-size:8.0pt;font-family:"Arial",sans-serif;color:red">|</span><span style="font-size:8.0pt;font-family:"Arial",sans-serif;color:black"> Email:
<a href="mailto:marcus.tan@nie.edu.sg"><span style="color:#0563C1">marcus.tan@nie.edu.sg</span></a>
</span><span style="font-size:8.0pt;font-family:"Arial",sans-serif;color:red">|</span><span style="font-size:8.0pt;font-family:"Arial",sans-serif;color:black"> Web:
<a href="http://www.nie.edu.sg/profile/tan-cheng-chye-marcus"><span style="color:#0563C1">http://www.nie.edu.sg/profile/tan-cheng-chye-marcus</span></a><o:p></o:p></span></p>
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<p class="MsoNormal"><i><span style="font-size:8.0pt;font-family:"Calibri",sans-serif;color:#548DD4">An Institute of Nanyang Technological University</span></i><i><span style="font-size:11.0pt;font-family:"Calibri",sans-serif;color:#1F497D">
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