Subjects -> ART (Total: 882 journals)
    - ART (468 journals)
    - DANCE (26 journals)
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    - THEATER (92 journals)

THEATER (92 journals)

Showing 1 - 79 of 79 Journals sorted alphabetically
Adaptation     Hybrid Journal   (Followers: 9)
African Arts     Hybrid Journal   (Followers: 18)
Agôn : Revue des arts de la scène     Open Access  
Applied Theatre Research     Hybrid Journal   (Followers: 7)
Australasian Drama Studies     Full-text available via subscription   (Followers: 3)
Australian Screen Education     Full-text available via subscription   (Followers: 2)
Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art     Open Access  
Cahiers Élisabéthains     Hybrid Journal   (Followers: 1)
Cambridge Opera Journal     Hybrid Journal   (Followers: 4)
Comedy Studies     Hybrid Journal   (Followers: 10)
Conceição/Conception     Open Access  
Contemporary Theatre Review     Hybrid Journal   (Followers: 11)
Creative Artist : A Journal of Theatre and Media Studies     Open Access   (Followers: 11)
DRAMA : Nordisk dramapedagogisk tidsskrift     Full-text available via subscription  
Drama Therapy Review     Hybrid Journal   (Followers: 4)
Dramatherapy     Hybrid Journal   (Followers: 2)
Dramaturgias     Open Access  
Drammaturgia     Open Access   (Followers: 1)
Early Theatre     Open Access   (Followers: 6)
Forum Modernes Theater     Full-text available via subscription  
Horizons/Théâtre : Revue d'études théâtrales     Open Access  
Ibsen Studies     Hybrid Journal   (Followers: 3)
Indian Theatre Journal     Hybrid Journal  
Itinera     Open Access  
Jeu : Revue de théâtre     Full-text available via subscription  
Journal of Adaptation in Film & Performance     Hybrid Journal   (Followers: 7)
Journal of Dramatic Theory and Criticism     Full-text available via subscription   (Followers: 5)
L'Atelier     Open Access   (Followers: 4)
Latin American Theatre Review     Full-text available via subscription   (Followers: 2)
Mask     Full-text available via subscription   (Followers: 1)
Mechademia     Full-text available via subscription   (Followers: 2)
Methis. Studia humaniora Estonica     Open Access   (Followers: 1)
Mime Journal     Open Access  
Mimesis Journal     Open Access   (Followers: 1)
Modern Drama     Full-text available via subscription   (Followers: 12)
Multicultural Shakespeare     Open Access   (Followers: 4)
New Theatre Quarterly     Hybrid Journal   (Followers: 10)
Nineteenth Century Theatre and Film     Full-text available via subscription   (Followers: 9)
NJ : Drama Australia Journal     Hybrid Journal  
Nordic Theatre Studies     Open Access  
PAJ: A Journal of Performance and Art     Hybrid Journal   (Followers: 15)
Performance Research: A Journal of the Performing Arts     Hybrid Journal   (Followers: 13)
Performing Ethos: An International Journal of Ethics in Theatre & Performance     Hybrid Journal   (Followers: 6)
Peripeti     Open Access   (Followers: 2)
PesquisAtor. Revista do Centro de Pesquisa em Experimentação Cênica do Ator     Open Access  
Pitágoras 500     Open Access  
Renaissance Drama     Full-text available via subscription   (Followers: 11)
Research in Drama Education     Hybrid Journal   (Followers: 15)
Samuel Beckett Today / Aujourd'hui     Full-text available via subscription   (Followers: 3)
Scene     Hybrid Journal   (Followers: 2)
Shakespeare     Hybrid Journal   (Followers: 16)
Shakespeare Bulletin     Full-text available via subscription   (Followers: 15)
Shakespeare Quarterly     Full-text available via subscription   (Followers: 27)
Skenè. Journal of Theatre and Drama Studies     Open Access   (Followers: 4)
Slovenske divadlo / The Slovak Theatre     Open Access  
South African Theatre Journal     Hybrid Journal   (Followers: 4)
Stanislavski Studies     Hybrid Journal  
Studies in Musical Theatre     Hybrid Journal   (Followers: 7)
Studies in Theatre and Performance     Hybrid Journal   (Followers: 17)
TDR / The Drama Review     Hybrid Journal   (Followers: 18)
Teatervitenskapelige studier     Open Access  
Teatro : Criação e Construção de Conhecimento     Open Access  
Teatro XXI     Open Access  
Telondefondo : Revista de Teoría y Crítica Teatral     Open Access  
Theatre and Performance Design     Hybrid Journal  
Theatre History Studies     Full-text available via subscription   (Followers: 8)
Theatre Journal     Full-text available via subscription   (Followers: 20)
Theatre Notebook     Full-text available via subscription   (Followers: 8)
Theatre Research in Canada / Recherches théâtrales au Canada     Full-text available via subscription   (Followers: 2)
Theatre Research International     Full-text available via subscription   (Followers: 12)
Theatre Survey     Full-text available via subscription   (Followers: 12)
Theatre Symposium     Full-text available via subscription   (Followers: 5)
Theatre Topics     Full-text available via subscription   (Followers: 10)
Theatre, Dance and Performance Training     Hybrid Journal   (Followers: 11)
Theatrical Colloquia     Open Access  
Western Journal of Communication     Hybrid Journal   (Followers: 5)
Women & Performance: a journal of feminist theory     Hybrid Journal   (Followers: 15)
Youth Theatre Journal     Hybrid Journal   (Followers: 2)
Σκηνή / Skene     Open Access  
Similar Journals
Journal Cover
Nordic Theatre Studies
Number of Followers: 0  

  This is an Open Access Journal Open Access journal
ISSN (Print) 0904-6380 - ISSN (Online) 2002-3898
Published by Association of Nordic Theatre Scholars Homepage  [1 journal]
  • Rethinking Nordic

    • Authors: Katri Tanskanen, S. E. Wilmer
      Pages: 2 - 5
      PubDate: 2022-06-17
      DOI: 10.7146/nts.v33i2.132868
      Issue No: Vol. 33, No. 2 (2022)
       
  • “We Are Still Not Being Heard”

    • Authors: Tiina Rosenberg
      Pages: 6 - 20
      Abstract: For several years, the Black Lives Matter movement has been advocating for issues of racial justice and the representation of POC artists (people of colour)
      in the arts. However, it is a different kind of challenge to face up to systematic racial discrimination in Swedish society that claims itself to be both colourblind
      and antiracist. Contrary to the notion that if race is not mentioned, there cannot be racism, it may be argued that the performing arts in Sweden are not
      as open-minded and inclusive as often claimed. This article focuses on antiblackness and argues that although there are anti-racist performers and activist
      groups who continually address racial injustice, the response from theatre institutions has been slow. It is suggested that the performing arts in Sweden
      need to expand the representation of artists of colour, get better at detecting strategies of equality reluctance in theatre organisations, and improve a critical
      understanding of hegemonic whiteness. They also must develop a politics of iintersectionality and accountability as an approach to new ways of thinking and
      acting.
      PubDate: 2022-06-17
      DOI: 10.7146/nts.v33i2.132869
      Issue No: Vol. 33, No. 2 (2022)
       
  • Nordic Gore'

    • Authors: Rikard Loman
      Pages: 21 - 35
      Abstract: The idea of a Nordic community, even though it was a reality in the past and is still a quite tangible idea in the present – because all Nordic countries have
      striking similarities – is often obscured by the more recent idea that the nation always comes first, and for quite some time now the Nordic countries have
      been anxious to set themselves apart from their closest neighbour in particular. In this paper, I will examine a rare – and at that, an unusually bloody and
      messy – Swedish-Danish theatre collaboration, Stockholms blodbad (Stockholm Bloodbath), which was staged at Malmö City Theatre, in Skåne, the southernmost of the historical provinces of Sweden, in the fall of 2016. Stockholms blodbad seemed to revive the idea of a “pure” Nordic community beneath the final coat of national varnish, but the intent was primarily to subvert and make fun of nationalistic sentiments while re-awakening a well-known, historical
      event in the intertwined pasts of these nations. When Stockholms blodbad premiered in 2016, the differences between Sweden and Denmark and the sense of Skåne being a border territory had
      been amplified by recent events and different policies regarding what is now known as “Flyktingkrisen” (The European refugee and migrant crisis) in the
      spring of 2015. “Flyktingkrisen” reminded us of the fact that we now live in an increasingly globalized world. Stockholms blodbad seemed to deny it. As
      long as nationalism skews our thoughts and perceptions of the past and the present it is impossible to imagine a future that is habitable and hospitable to
      all humanity.
      PubDate: 2022-06-17
      DOI: 10.7146/nts.v33i2.132870
      Issue No: Vol. 33, No. 2 (2022)
       
  • Swedish Whiteness, German Multiculturalism, French National Identity, and
           American Racial Profiling

    • Authors: Dirk Gindt
      Pages: 36 - 57
      Abstract: Populated by characters from the Middle East, North Africa, Southeast Asia, and Sweden, Jonas Hassen Khemiri’s debut play, Invasion! (2006), marked one of the first intercultural theatrical events on a mainstream Swedish stage. It unapologetically confronted audiences with the consequences of stereotypical representations of Muslim men as fundamentalist terrorists and further criticized the notion of “Swedishness” for not just working as a mere designation of nationality and citizenship, but also a silent, yet powerful signifier of whiteness. Moreover, Invasion! was the first play to be performed in a mainstream theatre by a cast that had an intercultural and international background and could effortlessly switch between standard Swedish (rikssvenska) and suburban Swedish (ortenspråk).
      Acknowledging the fifteenth anniversary of Invasion!, this article looks back upon the watershed of director Farnaz Arbabi’s original production and the play’s subsequent transnational impact. How did a play that was defiantly at odds with the hegemonic whiteness of the performing arts in Sweden, at that point in time, not only become a modern classic that found its way into the university curricula, but went on to garner an impressively transnational success' What exactly captured the interest and attention of theatre artists in Germany, France, the US, and many other countries' And how did international reviewers react to and interpret the work' What interests me specifically is to study how the play has ‘travelled’, how its characters and themes have migrated to different national and linguistic contexts, engendered new creative networks and transnational dialogues as well as unfolded multiple layers of cultural translations in the process. A genuine understanding and appreciation of Khemiri’s work, I suggest, necessitates a transnational outlook that, in turn, sheds light on Nordic theatre and performance as increasingly intercultural and motivated by concerns that are not regional but global.
      PubDate: 2022-06-17
      DOI: 10.7146/nts.v33i2.132871
      Issue No: Vol. 33, No. 2 (2022)
       
  • Theatre Talks

    • Authors: Daria Skjoldager-Nielsen
      Pages: 58 - 71
      Abstract: Almost each year, the pop-cultural world is buzzing with a “new” Nordic word that can bring a piece of Nordic life to every home. Lagom, fika, fredagsmys or hygge - they all refer to slowness, break, taking a moment to feel good and happy, being considerate. Those concepts are believed to be a Nordic approach to life - and a very desirable one.
      When I think of theatre in this context, one Nordic invention comes to my mind: theatre talks, which emerged as an audience reception research method in Sweden. They proved to be an effective audience development practice (even for non-theatregoers) in Australia (Scollen), Denmark (Hansen; Lindelof), and Poland (Rapior) because (among other things) they bring the element of pleasure, community building, and feeling safe into the theatre experience especially for non-attenders.
      In this article I will focus on looking at theatre as a possible “oasis of deceleration” in the constantly accelerating world, using Hartmut Rosa’s theory of social acceleration. By going through the development of theatre talks, I will demonstrate what theatres can gain from using this method - both in attendance and image. I will deliberate on how theatre can become a metaphorically “hyggelig” place for anybody during times when everybody ought to live faster and faster.
      PubDate: 2022-06-17
      DOI: 10.7146/nts.v33i2.132872
      Issue No: Vol. 33, No. 2 (2022)
       
  • Som en vildfågel i en bur

    • Authors: Hélène Ohlsson
      Pages: 72 - 76
      PubDate: 2022-06-17
      DOI: 10.7146/nts.v33i2.132873
      Issue No: Vol. 33, No. 2 (2022)
       
  • I avantgardets skugga

    • Authors: Mikko-Olavi Seppälä
      Pages: 77 - 79
      PubDate: 2022-06-17
      DOI: 10.7146/nts.v33i2.132874
      Issue No: Vol. 33, No. 2 (2022)
       
  • Kim Skjoldager-Nielsen 1971-2022

    • Authors: Ulla Kallenbach, Magnus Tessing Schneider
      Pages: 80 - 82
      PubDate: 2022-06-17
      DOI: 10.7146/nts.v33i2.132876
      Issue No: Vol. 33, No. 2 (2022)
       
 
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