Volume 34, Number 2, July 2024

Special Issue: Comedy & Embodiment

Theatre Topics November 2020 Cover

Volume 30, Number 3, November 2020

Online Articles:

"Teaching Acting Online: Ten Tips Toward Creating a Strong Container," by Tanya Elchuk

"Teaching Acting in the Face of COVID-19: Designing Instruction for Variable Acting Studios," by Hillary Haft Bucs, James Elliott, David Kaye, Matthew Mastromatteo, Tom Pacio, Valerie Clayman Pye, Kim Shively, Gerritt VanderMeer


Theatre Topics cover

Volume 30, Number 1, March 2020

"Three ATHE 2019 Awards Speeches and a Response" by Kathy A. Perkins, Randy Reinholz, Laurence Senelick, Patricia Ybarra

"In Conversation with Bill Rauch" by Sonja Arsham Kuftinec

"A Reflection on the ATHE 2019 Session: “Decolonizing Institutional Norms . . .” by Courtney Elkin Mohler, Lisa Jackson-Schebetta, Martine Kei Green-Rogers, Bethany Hughes, Joy Brooke Fairfield

"Culturally Competent and Trauma-Informed Teaching in the Age of MAGA and Brexit" by Sylvan Baker, Stephen Buescher, Kaja Dunn



Volume 28 Number 1, March 2018

The full issue can be viewed on Project MUSE: http://muse.jhu.edu/issue/38229

Click on the links below to access the materials.


Photo Supplement to "A Spectacular Balancing Act"



"Annotating Vegas: Mapping Performance Interventions at ATHE 2017"

Michelle Liu Carriger and Eero Laine            


"Four Principles about Site-Specific Theatre: a Conversation on Architecture, Bodies, and Presence"

Rachel Bowditch, Daniel Bird Tobin, Chelsea Pace, and Marc Devine                             


TT 27.2 Cover

Volume 27, Number 2, July 2017

For the full print edition of Theatre Topics 27.2, please click here to go to Project MUSE

Online only Notes from the Field: 

In “How to Win Intro to Theatre” Stephen A. Schrum shares his experiments with motivating student learning by making his theatre course into a game. He contends that educators can capitalize on millennials’ familiarity with video games, in which they reach various levels of achievement, to help learners feel a greater sense of engagement and satisfaction with their coursework.

Ed Menta approaches student engagement in a more personal way in “I Finally Saw the Greek Theatres: Impressions on Teaching Undergraduate Theatre History.” In this Note, Menta shares his deeper connection to Greek Theatre after visiting the historic physical sites.

Volume 27, Number 1, March 2017

Volume 27, Number 1, March 2017

Read the full print issue on Project MUSE here.

Decolonizing Wikipedia through Advocacy and Activism: The Latina/o Theatre Wikiturgy Project

Noe Montez


The Latinx Theatre Commons: A Commons-based Approach Movement

Teresa Marrero


Latinx Theatre Commons Seattle Convening: Latinx Theatre in Unexpected Places

Maria Enriquez and Christopher Goodson


Volume 26, Number 3, November 2016 cover

Volume 26, Number 3, November 2016

Read full issue on Project MUSE.

Essay (Online Only)

Hyperlinks as the Pulse of the Past: Using and Teaching a Digital Theatre Archive

By Ciara Conway

Introduction: Teaching Students to Wake the Dead

I often speak to students about awakening the dead spectres of theatre history. This idea derives from, but also engenders my own passion for research in theatre archives. Should we call ghosts to life? What good can come of theatre students learning to awaken the dead? And can the digital natives of today materialize phantoms in new ways? This essay aims to answer these questions by examining changing research practices in light of the challenges presented by digital archives of theatre and performance material. In the digital age, it may be that archival-based courses drawing on digital tools provide an exemplary space to allow students to engage with theatre history. Yet, the simplicity of hyperlinks, their ability to provide direct and rapid access to information, conceals the intricate work required to forge these connections.


Volume 26, Number 2, July 2016 cover

Volume 26, Number 2, July 2016

Read full issue on Project MUSE.

Notes from the Field (Online Only)

Introduction: Devising in Chicago—Interviews with the Artists

By Heidi Coleman

While attempting to write a love letter in middle school I discovered the limits of language, or at least of nouns, love being at the top of the list of the deeply problematic and highly reductive. All the feelings, the energetic messiness, the profoundness of my unique angst could not be scooped into letters. Perhaps my frustration with language led me to the continual staging of the ephemeral, the immersive experience of engagement. While devised work extends beyond a four-letter word, I resent the reductive limits only slightly less than my fifth-grade self; and yet, for a process to extend beyond the temporal, we are left to our clumsy linguistics. Chicago currently delights me in Wittgenstein’s language game of pointing to the thing in the attempt to create shared definition, as numerous performance companies actively wrestle with the process of making work.


Moment Work: An Interview with Tectonic Theater Project

By Lisa S. Brenner, Moisés Kaufman, and Barbara Pitts

Tectonic Theater Project teaches a devising method its calls “Moment Work.” Theatre Topics coeditor Lisa S...

Volume 26, Number 1, March 2016 cover

Volume 26, Number 1, March 2016

Read full issue on Project MUSE.

Notes from the Field (Online Only)

The Courage to Teach and the Courage to Lead: Considerations for Theatre and Dance in Higher Education

By Ray Miller

For many of us, there is a sense that as we move from one day to the next we are not so much accomplishing something as surviving something. Digital media of all kinds and the ready accessibility of the internet, smart phones, virtual clouds, and other digital technologies have pushed the future into the present. The future is often experienced as a plethora of possibilities that coexist all at the same time. We do not have the time to think forward. It is too much already to negotiate the present from one moment to the next. Douglas Rushkoff calls this “present shock” and claims that “[i]f the end of the twentieth can be characterized by futurism, the twenty-first century can be defined by presentism” (3).1 In this new world, jumping from one web link to the next is not viewed as disruptive and superficial, but as a way to surf the possibilities and to make unexpected discoveries.2 David Shields captures the feel of the worldview...