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<p class="MsoNormal"><span lang="EN-GB">Dear Colleagues,<br>
<br>
The new issue of Theatre Research International is now published.<br>
<a href="https://www.cambridge.org/core/journals/theatre-research-international/latest-issue">https://www.cambridge.org/core/journals/theatre-research-international/latest-issue</a><br>
Theatre Research International is the official journal of the International Federation for Theatre Research.<br>
<br>
</span><b><i><span lang="EN-GB" style="font-size:12.0pt;font-family:"Noto Sans",sans-serif;color:#595959;mso-ligatures:none">Editorial</span></i></b><span lang="EN-GB"><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span lang="EN-GB" style="font-size:10.5pt;font-family:"Noto Sans",sans-serif;color:#333333;mso-ligatures:none"><a href="https://www.cambridge.org/core/journals/theatre-research-international/article/on-fast-and-slow-editing/2DEF387F8C2DE676FD8F031EBF80CCB7"><span style="color:#006FCA">On
Fast and Slow Editing</span></a><br>
</span></b><span lang="EN-GB" style="font-size:10.0pt;font-family:"Noto Sans",sans-serif;color:#595959;mso-ligatures:none"><a href="https://www.cambridge.org/core/search?filters%5BauthorTerms%5D=SILVIJA%20JESTROVIC&eventCode=SE-AU"><span style="color:#006FCA">SILVIJA
JESTROVIC</span></a></span><b><span lang="EN-GB" style="font-size:10.5pt;font-family:"Noto Sans",sans-serif;color:#333333;mso-ligatures:none"><o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><i><span lang="EN-GB" style="font-size:12.0pt;font-family:"Noto Sans",sans-serif;color:#595959;mso-ligatures:none"><o:p> </o:p></span></i></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><i><span lang="EN-GB" style="font-size:12.0pt;font-family:"Noto Sans",sans-serif;color:#595959;mso-ligatures:none">Article<o:p></o:p></span></i></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span lang="EN-GB" style="font-size:10.5pt;font-family:"Noto Sans",sans-serif;color:#333333;mso-ligatures:none"><a href="https://www.cambridge.org/core/journals/theatre-research-international/article/freak-onstage-transformation-of-life-into-spectacle-in-teatro-de-ciertos-habitantess-el-gallo/2E0B271C19F66A001268BBE416ADA64F"><span style="color:#006FCA">The
Freak Onstage: Transformation of Life into Spectacle in Teatro de Ciertos Habitantes's </span><i><span style="color:#006FCA;text-decoration:none">El Gallo</span></i></a><br>
</span></b><span lang="EN-GB" style="font-size:10.0pt;font-family:"Noto Sans",sans-serif;color:#595959;mso-ligatures:none"><a href="https://www.cambridge.org/core/search?filters%5BauthorTerms%5D=ANALOLA%20SANTANA&eventCode=SE-AU"><span style="color:#006FCA">ANALOLA
SANTANA</span></a></span><b><span lang="EN-GB" style="font-size:10.5pt;font-family:"Noto Sans",sans-serif;color:#333333;mso-ligatures:none"><o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span lang="EN-GB" style="font-size:10.5pt;font-family:"Noto Sans",sans-serif;color:#333333;mso-ligatures:none"><o:p> </o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span lang="EN-GB" style="font-size:10.5pt;font-family:"Noto Sans",sans-serif;color:#333333;mso-ligatures:none"><a href="https://www.cambridge.org/core/journals/theatre-research-international/article/okinawan-absence-ma-in-kumiodori/8C301A614D4039095E03ECFEEDC4CE88"><span style="color:#006FCA">Okinawan
Absence: </span><i><span style="color:#006FCA;text-decoration:none">Ma</span></i><span style="color:#006FCA"> in Kumiodori</span></a><br>
</span></b><span lang="EN-GB" style="font-size:10.0pt;font-family:"Noto Sans",sans-serif;color:#595959;mso-ligatures:none"><a href="https://www.cambridge.org/core/search?filters%5BauthorTerms%5D=SYLWIA%20DOBKOWSKA&eventCode=SE-AU"><span style="color:#006FCA">SYLWIA
DOBKOWSKA</span></a></span><b><span lang="EN-GB" style="font-size:10.5pt;font-family:"Noto Sans",sans-serif;color:#333333;mso-ligatures:none"><o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span lang="EN-GB" style="font-size:10.5pt;font-family:"Noto Sans",sans-serif;color:#333333;mso-ligatures:none"><o:p> </o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span lang="EN-GB" style="font-size:10.5pt;font-family:"Noto Sans",sans-serif;color:#333333;mso-ligatures:none"><a href="https://www.cambridge.org/core/journals/theatre-research-international/article/flying-in-the-cage-iranian-theatre-directors-creativity-in-the-face-of-censorship/168D921F80174BDFCFD3012AD59CEACB"><span style="color:#006FCA">Flying
in the Cage: Iranian Theatre Directors’ Creativity in the Face of Censorship</span></a><br>
</span></b><span lang="EN-GB" style="font-size:10.0pt;font-family:"Noto Sans",sans-serif;color:#595959;mso-ligatures:none"><a href="https://www.cambridge.org/core/search?filters%5BauthorTerms%5D=MEHDI%20TAJEDDIN&eventCode=SE-AU"><span style="color:#006FCA">MEHDI
TAJEDDIN</span></a></span><b><span lang="EN-GB" style="font-size:10.5pt;font-family:"Noto Sans",sans-serif;color:#333333;mso-ligatures:none"><o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span lang="EN-GB" style="font-size:10.5pt;font-family:"Noto Sans",sans-serif;color:#333333;mso-ligatures:none"><o:p> </o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span lang="EN-GB" style="font-size:10.5pt;font-family:"Noto Sans",sans-serif;color:#333333;mso-ligatures:none"><a href="https://www.cambridge.org/core/journals/theatre-research-international/article/honour-and-reputation-as-gender-politics-in-ali-abdelnabi-al-zaidis-rubbish-1995-and-amir-alazrakis-the-widow-2014/B30B28A7B07603F725E464B0739AD9E2"><span style="color:#006FCA">Honour
and Reputation as Gender Politics in Ali Abdel-Nabi Al Zaidi's </span><i><span style="color:#006FCA;text-decoration:none">Rubbish</span></i><span style="color:#006FCA"> (1995) and Amir Al-Azraki's </span><i><span style="color:#006FCA;text-decoration:none">The
Widow</span></i><span style="color:#006FCA"> (2014)</span></a><br>
</span></b><span lang="EN-GB" style="font-size:10.0pt;font-family:"Noto Sans",sans-serif;color:#595959;mso-ligatures:none"><a href="https://www.cambridge.org/core/search?filters%5BauthorTerms%5D=ALYAA%20A.%20NASER&eventCode=SE-AU"><span style="color:#006FCA">ALYAA
A. NASER</span></a>, <a href="https://www.cambridge.org/core/search?filters%5BauthorTerms%5D=MAJEED%20MOHAMMED%20MIDHIN&eventCode=SE-AU"><span style="color:#006FCA">MAJEED MOHAMMED MIDHIN</span></a></span><b><span lang="EN-GB" style="font-size:10.5pt;font-family:"Noto Sans",sans-serif;color:#333333;mso-ligatures:none"><o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span lang="EN-GB" style="font-size:10.5pt;font-family:"Noto Sans",sans-serif;color:#333333;mso-ligatures:none"><o:p> </o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span lang="EN-GB" style="font-size:10.5pt;font-family:"Noto Sans",sans-serif;color:#333333;mso-ligatures:none"><a href="https://www.cambridge.org/core/journals/theatre-research-international/article/making-sense-reading-the-production-notes-of-dark-things/3B31FD7FBCC6F926E9B6307EDD2C45DE"><span style="color:#006FCA">Making
Sense: Reading the Production Notes of </span><i><span style="color:#006FCA;text-decoration:none">Dark Things</span></i></a><br>
</span></b><span lang="EN-GB" style="font-size:10.0pt;font-family:"Noto Sans",sans-serif;color:#595959;mso-ligatures:none"><a href="https://www.cambridge.org/core/search?filters%5BauthorTerms%5D=ANURADHA%20KAPUR&eventCode=SE-AU"><span style="color:#006FCA">ANURADHA
KAPUR</span></a></span><b><span lang="EN-GB" style="font-size:10.5pt;font-family:"Noto Sans",sans-serif;color:#333333;mso-ligatures:none"><o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><i><span lang="EN-GB" style="font-size:12.0pt;font-family:"Noto Sans",sans-serif;color:#595959;mso-ligatures:none"><o:p> </o:p></span></i></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><i><span lang="EN-GB" style="font-size:12.0pt;font-family:"Noto Sans",sans-serif;color:#595959;mso-ligatures:none">Book Review<o:p></o:p></span></i></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span lang="EN-GB" style="font-size:10.5pt;font-family:"Noto Sans",sans-serif;color:#333333;mso-ligatures:none"><a href="https://www.cambridge.org/core/journals/theatre-research-international/article/ibsen-in-the-decolonised-south-asian-theatre-edited-by-sabiha-huq-and-srideep-mukherjee-london-and-new-york-routledge-2024-pp-xvi-244-13000-hb/96C2D963E10439968DE8E7E418C92D37"><i><span style="color:#006FCA;text-decoration:none">Ibsen
in the Decolonised South Asian Theatre</span></i><span style="color:#006FCA">. Edited by Sabiha Huq and Srideep Mukherjee. London and New York: Routledge, 2024. Pp. xvi + 244. £130.00 Hb.</span></a><br>
</span></b><span lang="EN-GB" style="font-size:10.0pt;font-family:"Noto Sans",sans-serif;color:#595959;mso-ligatures:none"><a href="https://www.cambridge.org/core/search?filters%5BauthorTerms%5D=Siddhartha%20Biswas&eventCode=SE-AU"><span style="color:#006FCA">Siddhartha
Biswas</span></a></span><b><span lang="EN-GB" style="font-size:10.5pt;font-family:"Noto Sans",sans-serif;color:#333333;mso-ligatures:none"><o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span lang="EN-GB" style="font-size:10.5pt;font-family:"Noto Sans",sans-serif;color:#333333;mso-ligatures:none"><o:p> </o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span lang="EN-GB" style="font-size:10.5pt;font-family:"Noto Sans",sans-serif;color:#333333;mso-ligatures:none"><a href="https://www.cambridge.org/core/journals/theatre-research-international/article/actornetwork-dramaturgies-the-argentines-of-paris-by-stefano-boselli-new-york-palgrave-macmillan-2023-pp-289-10999-hb-10999-pb-8750-ebook/1AD5318D5F7FBE64E58CA082D813CBDB"><i><span style="color:#006FCA;text-decoration:none">Actor-Network
Dramaturgies: The Argentines of Paris</span></i><span style="color:#006FCA">. By Stefano Boselli. New York: Palgrave MacMillan, 2023. Pp. 289. £109.99 Hb; £109.99 Pb; £87.50 Ebook.</span></a><br>
</span></b><span lang="EN-GB" style="font-size:10.0pt;font-family:"Noto Sans",sans-serif;color:#595959;mso-ligatures:none"><a href="https://www.cambridge.org/core/search?filters%5BauthorTerms%5D=Germ%C3%A1n%20Garrido&eventCode=SE-AU"><span style="color:#006FCA">Germán
Garrido</span></a></span><b><span lang="EN-GB" style="font-size:10.5pt;font-family:"Noto Sans",sans-serif;color:#333333;mso-ligatures:none"><o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span lang="EN-GB" style="font-size:10.5pt;font-family:"Noto Sans",sans-serif;color:#333333;mso-ligatures:none"><o:p> </o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span lang="EN-GB" style="font-size:10.5pt;font-family:"Noto Sans",sans-serif;color:#333333;mso-ligatures:none"><a href="https://www.cambridge.org/core/journals/theatre-research-international/article/realisms-in-east-asian-performance-edited-by-jessica-nakamura-and-katherine-saltzmanli-ann-arbor-university-of-michigan-press-2023-pp-vii-278-95-hb-3995-pb/540268E2CE708FB3F4DA647A57486CE6"><i><span style="color:#006FCA;text-decoration:none">Realisms
in East Asian Performance</span></i><span style="color:#006FCA">. Edited by Jessica Nakamura and Katherine Saltzman-Li. Ann Arbor: University of Michigan Press, 2023. Pp. vii + 278. $95 Hb; $39.95 Pb.</span></a><br>
</span></b><span lang="EN-GB" style="font-size:10.0pt;font-family:"Noto Sans",sans-serif;color:#595959;mso-ligatures:none"><a href="https://www.cambridge.org/core/search?filters%5BauthorTerms%5D=David%20Jortner&eventCode=SE-AU"><span style="color:#006FCA">David
Jortner</span></a></span><b><span lang="EN-GB" style="font-size:10.5pt;font-family:"Noto Sans",sans-serif;color:#333333;mso-ligatures:none"><o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span lang="EN-GB" style="font-size:10.5pt;font-family:"Noto Sans",sans-serif;color:#333333;mso-ligatures:none"><o:p> </o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span lang="EN-GB" style="font-size:10.5pt;font-family:"Noto Sans",sans-serif;color:#333333;mso-ligatures:none"><a href="https://www.cambridge.org/core/journals/theatre-research-international/article/dramaturgy-of-sex-on-stage-in-contemporary-theater-edited-by-kate-mulley-new-york-routledge-2024-pp-i-131-6495-hb/549A40DE19D31372853A6F4764BCB105"><i><span style="color:#006FCA;text-decoration:none">Dramaturgy
of Sex on Stage in Contemporary Theater</span></i><span style="color:#006FCA">. Edited by Kate Mulley. New York: Routledge, 2024. Pp. i + 131. $64.95 Hb.</span></a><br>
</span></b><span lang="EN-GB" style="font-size:10.0pt;font-family:"Noto Sans",sans-serif;color:#595959;mso-ligatures:none"><a href="https://www.cambridge.org/core/search?filters%5BauthorTerms%5D=Charlotte%20W.%20Roberts&eventCode=SE-AU"><span style="color:#006FCA">Charlotte
W. Roberts</span></a></span><b><span lang="EN-GB" style="font-size:10.5pt;font-family:"Noto Sans",sans-serif;color:#333333;mso-ligatures:none"><o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span lang="EN-GB" style="font-size:10.5pt;font-family:"Noto Sans",sans-serif;color:#333333;mso-ligatures:none"><o:p> </o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span lang="EN-GB" style="font-size:10.5pt;font-family:"Noto Sans",sans-serif;color:#333333;mso-ligatures:none"><a href="https://www.cambridge.org/core/journals/theatre-research-international/article/good-nights-out-a-history-of-popular-british-theatre-since-the-second-world-war-by-aleks-sierz-london-bloomsbury-2021-pp-228-95-hb-2299-pb/BD6E896D1635749A2C2A7747EE741E30"><i><span style="color:#006FCA;text-decoration:none">Good
Nights Out: A History of Popular British Theatre since the Second World War</span></i><span style="color:#006FCA">. By Aleks Sierz. London: Bloomsbury, 2021. Pp. 228. £95 Hb; £22.99 Pb.</span></a><br>
</span></b><span lang="EN-GB" style="font-size:10.0pt;font-family:"Noto Sans",sans-serif;color:#595959;mso-ligatures:none"><a href="https://www.cambridge.org/core/search?filters%5BauthorTerms%5D=Tomoko%20Seki&eventCode=SE-AU"><span style="color:#006FCA">Tomoko
Seki</span></a></span><b><span lang="EN-GB" style="font-size:10.5pt;font-family:"Noto Sans",sans-serif;color:#333333;mso-ligatures:none"><o:p></o:p></span></b></p>
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<p class="MsoNormal" style="margin-bottom:3.75pt;background:white"><b><span style="font-size:9.0pt;font-family:"Arial",sans-serif;color:black">Marcus TAN (Dr)
</span></b><span style="font-size:9.0pt;font-family:"Arial",sans-serif;color:red">|</span><span style="font-size:9.0pt;font-family:"Arial",sans-serif;color:black"> Associate Professor
</span><span style="font-size:9.0pt;font-family:"Arial",sans-serif;color:red">| </span>
<span style="font-size:9.0pt;font-family:"Arial",sans-serif;color:black">Visual and Performing Arts
</span><span style="font-size:9.0pt;font-family:"Arial",sans-serif;color:red">|</span><span style="font-size:9.0pt;font-family:"Arial",sans-serif;color:black"> National Institute of Education
</span><span style="font-size:9.0pt;font-family:"Arial",sans-serif;color:red">|</span><span style="font-size:9.0pt;font-family:"Arial",sans-serif;color:black"> Chair,
<a href="https://www.ntu.edu.sg/nie/about-us/academic-departments/visual-and-performing-arts/visiting-artist-programme">
<span style="color:#0070C0">NIE Visiting Artist Programme</span></a> </span><span style="font-size:9.0pt;font-family:"Arial",sans-serif;color:red">|</span><span style="font-size:9.0pt;font-family:"Arial",sans-serif;color:black"> Programme Leader, Practicum
</span><span style="font-size:9.0pt;font-family:"Arial",sans-serif;color:red">| </span>
<span style="font-size:9.0pt;font-family:"Arial",sans-serif;color:black"> Assistant Editor,
<a href="https://www.cambridge.org/core/journals/theatre-research-international">
<i><span style="color:#0563C1">Theatre Research International</span></i></a><i> </i>
(Cambridge) </span><span style="font-size:9.0pt;font-family:"Arial",sans-serif;color:#2F5597">|
</span><span style="font-size:9.0pt;font-family:"Arial",sans-serif;color:black"><a href="https://www.iftr.org/organisation/executive-committee"><span style="color:#0070C0">Secretary-General (Communications)</span></a></span><span style="font-size:9.0pt;font-family:"Arial",sans-serif;color:#0070C0">,
</span><span style="font-size:9.0pt;font-family:"Arial",sans-serif;color:black">International Federation for Theatre Research
</span><span style="font-size:9.0pt;font-family:"Arial",sans-serif;color:red">|</span><span style="font-size:9.0pt;font-family:"Arial",sans-serif;color:black"><br>
NIE 03-03-61, 1 Nanyang Walk, Singapore 637616 <br>
<b>T</b>: (65) 6790-3552 </span><span style="font-size:9.0pt;font-family:"Arial",sans-serif;color:gray">GMT+8h</span><span style="font-size:9.0pt;font-family:"Arial",sans-serif;color:black">
</span><span style="font-size:9.0pt;font-family:"Arial",sans-serif;color:red">|</span><span style="font-size:9.0pt;font-family:"Arial",sans-serif;color:black">
<b>F</b>: (65) 6896-9143 </span><span style="font-size:9.0pt;font-family:"Arial",sans-serif;color:red">|</span><span style="font-size:9.0pt;font-family:"Arial",sans-serif;color:black">
<b>E</b>: <a href="mailto:marcus.tan@nie.edu.sg"><span style="color:#0563C1">marcus.tan@nie.edu.sg</span></a>
</span><span style="font-size:9.0pt;font-family:"Arial",sans-serif;color:red">|</span><span style="font-size:9.0pt;font-family:"Arial",sans-serif;color:black">
<a href="https://dr.ntu.edu.sg/cris/rp/rp01583"><span style="color:blue">Profile</span></a>
</span><b><span style="font-size:9.0pt;font-family:"Arial",sans-serif;color:#494A4C"><o:p></o:p></span></b></p>
<p class="MsoNormal" style="background:white"><span style="color:black"><a href="#_https://orcid.org/0000-0003-4481-1772"><span style="font-size:10.5pt;font-family:"initial",serif;color:blue;text-decoration:none"><img border="0" width="16" height="16" style="width:.1666in;height:.1666in" id="Picture_x0020_11" src="cid:image001.png@01DB68FE.1E1B7760"></span><span style="font-size:9.0pt;font-family:"Helvetica",sans-serif;color:blue"> </span><span style="font-size:9.0pt;font-family:"Arial",sans-serif;color:blue">https://orcid.org/0000-0003-4481-1772</span></a></span><span style="font-size:10.5pt;font-family:"Helvetica",sans-serif;color:#494A4C"><o:p></o:p></span></p>
<p class="MsoNormal"><img border="0" width="256" height="99" style="width:2.6666in;height:1.0333in" id="Picture_x0020_2" src="cid:image002.png@01DB68FE.1E1B7760"><o:p></o:p></p>
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