期刊名称：CONTEMPORARY THEATRE REVIEW
 期刊简介(About the journal)
投稿须知(Instructions to Authors)
编辑部信息(Editorial Board)
About the journal
Aims & Scope
Contemporary Theatre Review analyses what is most passionate and vital in theatre today. It encompasses a wide variety of theatres, from new playwrights and devisors to theatres of movement, image and other forms of physical expression, from new acting methods to music theatre and multi-media production work. Recognising the plurality of contemporary performance practices, it encourages contributions on physical theatre, opera, dance, design and the increasingly blurred boundaries between the physical and the visual arts.
The editors aim to publish essays that face the challenge of finding new critical approaches to match artistic innovations and work that transcends established categories. This involves both a focus on productions that invent their own generic forms by juxtaposing different artistic traditions and a consideration of how theatre engages with social and political realities. As such the journal examines trends in contemporary theatre, including the mainstream, and seeks to explore how theatrical vocabularies are shifting to accommodate and reflect the dynamics and/or tensions within global and local cultures.
Contemporary Theatre Review opens up new perspectives on the work of major innovators and companies. It aims to cover developments in design, scenography and theatre architecture. It gives a privileged place to assessing the productions and cultural policies of the major international festivals since these are accessible to a large audience, including students, specialists and enthusiasts. On occasion it will also commission articles on burning issues in theatre research and training.
Contemporary Theatre Review is an international peer-reviewed journal. The editors send out every submission, in anonymous form, to expert referees for a report. These anonymous reports are then fed back to the authors of the submissions for their consideration. No article is published in CTR without going through this rigorous process of refereeing and editing. As well as research articles the journal publishes production notes, designs, manifestos and interviews by emergent and established theatremakers (collected in a 'ocuments'section).
Occasional groups of papers on a particular topic or theme are collected as 'Forum on  '. For those interested in guest editing a special issue of the journal or a 'Forum on ' guidelines for prospective guest editors of special editions of CTR are available on this website.
The Backpages arena (edited by Dan Rebellato) is an opportunity for the academy to engage with theatre and performance practice with immediacy and insight and for theatre workers and performance artists to engage critically and reflectively on their work and the work of their peers. Featuring short, topical articles and debates, polemics where necessary, it' a place of intellectual intervention and creative reflection. It' also where we hope to articulate, perhaps for the first time, the work of new and rising theatre artists in an academic forum. The imagined readership of Backpages should therefore be an ordinary intelligent theatre worker. We don' use footnotes, but if precise reference is important to the article, they can incorporated into the body of the text. We would actively like to encourage precise analysis written with style and sophistication. We are not very interested in purely personal responses to the theatre, or heavily autobiographical writing; an engagement with the world should be the main focus of the writing. Topical material is very welcome but we don' publish reviews. Photographic illustrations are very welcome but please bear in mind there is no budget for this.
Backpages aims to have a bigger picture than the critics and to strive for a greater level of topical engagement than is usual in academic drama publishing.
The current editor of Backpages, Dan Rebellato, is happy to correspond about any aspect of Backpages at d.rebellato@rhul.ac.uk. Drafts and ideas for articles can also be sent to any member of the Backpages editorial team, listed in each issue at the end of the section.
The Book Reviews section (edited by Jen Harvie) publishes critical engagements with the most significant new books in the fields of contemporary theatre and performance. The aim is to provide, in the space of an 800-1000-word review, an authoritative, challenging and sometimes provocative survey of important contributions to the field. The longer review article - in which one or more books become the occasion for a wider discussion of issues in contemporary theatre - will be a regular feature of the section. For further information or suggestions of books to review contact Jen Harvie at j.harvie@qmul.ac.uk.
Instructions to Authors
Instructions for Authors
***Note to Authors: please make sure your contact address information is clearly visible on the outside of all packages you are sending to Editors.***
Submission of a paper will be taken to imply that it represents original work not previously published, that it is not being considered for publication elsewhere and that, if accepted for publication, it will not be published elsewhere in the same form, in any language, without the consent of editor and publisher. It is a condition of acceptance by the editor of a typescript for publication that the publisher automatically acquires the copyright of the typescript throughout the world. It will also be assumed that the author has obtained all necessary permissions to include in the paper items such as quotations, musical examples, figures, tables, etc. Permissions should be paid for prior to submission.
Typescripts
Papers should be submitted in triplicate accompanied by a disc or email attachment copy to the Editors, at David Bradby, Dept of Drama, Royal Holloway, Egham, TW20 0EX or Maria M. Delgado, School of English & Drama, Queen Mary, University of London, Mile End Road, London, E1 4NS.
1. Please ensure that the styles you use are consistent. Avoid using bold type and ensure the document is presented in double spaced format.
2. Please indent all new paragraphs.
3. Spacing needs to be consistent throughout. Single spacing after all punctuation. Initials should be spaced. A. P. Read not A.P. Read. Please ensure that you leave a space after the following contractions: ed., pp., p., vol.,
4. For quotations use single inverted commas.
5. Extract quotations over five lines (indented with space above and below, no quotation marks). Single quotation marks for integrated quotations. Use ellipses to indicate any missing material within a quote.
6. Always provide material in the language of source first. Then provide a translation. eg Integrated quotes: 'Quotation, quotation, quotation'note (Translation, translation, translation). Extracted quotes:
Quotation, quotation, quotation.note
(Translation, translation, translation.)
7. Please use a short title referencing system with footnotes. eg. Tim Etchells, Certain Fragments: Contemporary Performance and Forced Entertainment (London: Routledge, 1999), pp. 66-67.
Elin Diamond, '(In)Visible Bodies in Churchill's Theater', in Lynda Hart (ed.), Making a Spectacle: Feminist Essays on Contemporary Women's Theatre (Ann Arbor: The University of Michigan Press, 1989), pp. 259-281 (p. 262).
Patrice Pavis, Theatre at the Crossroads of Culture, trans. Loren Kruger (London and New York: Routledge, 1992), p. 226.
Philippa Wehle, 'Rich Maxwell: Dramatizing the Mundane', TheatreForum, 18 (Winter/Spring 2001), 74-79 (p. 77).
Caridad Svich, 'Visions of Migration: Internal Diasporas', Performance Research, 6:1 (Spring 2001), 12-23 (p. 13).
Michael Billington, 'A Tempest For Our Time', Guardian (12 September 1998), p. 15. On second references cite the author's surname and a short form of the title.
8. Please provide captions for all photographs or illustrated material. Captions should not be listed on the back of the photograph but rather on a separate sheet.
9. For dates use the style 2 February 1999.
For years use 1985-86, not 1985-6 or 1985-1986.
Use 1960s not sixties or '60s.
10. Spell out numbers below 110.
11. Use italics for titles of publications, books, journals, films, plays, TV or Radio Programmes, titles of paintings or sculptures, long poems, and foreign words.
12. UK or US spellings are acceptable as long as the contributor is consistent.
Free article access: Corresponding authors will receive free online access to their article through our website (www.informaworld.com) and a complimentary copy of the issue containing their article. Reprints of articles published in this journal can be purchased through Rightslink?when proofs are received. If you have any queries, please contact our reprints department at reprints@tandf.co.uk
Guidelines for prospective Guest Editors of special editions of Contemporary Theatre Review.
CTR aims to publish at least one special issue each year and welcomes proposals from Guest Editors. The editors see special issues as a useful means of focusing on a topic of particular interest or importance in contemporary theatre-making. Proposals will often arise from a conference that has proved unusually successful, but should not be limited to the papers offered at the conference. The editors encourage different ways of sourcing material, such as symposia (contributions may be grouped together as a 'Forum on '), interviews with professionals and practitioners, etc. It is good practice to offer an open call for submissions whatever other means of soliciting contributions are used.
Potential Guest Editor(s) should familiarise themselves with the journal, its mission and its style. They should note that there are now four distinct sections - critical articles; 'documents'; 'backpages'; book reviews - and they should indicate how they would plan to divide up material between these different sections. (NB in some cases, it will be inappropriate for the Guest Editor(s) to deal with 'backpages' and with book reviews, and the regular editors of these sections will compile them as normal.)
Anyone wishing to guest-edit a special issue should submit a proposal. This will be similar to the proposal that one might make to a publisher for a book of essays, and should organise its contents under certain headings: it should articulate the significance and coherence of the topic, potential or agreed contributors, discuss the range of the material envisaged for inclusion, explaining how it fits with existing scholarship in the area, offer ideas for the organisation of the issue, identify the intended readership. They should also look for opportunities to include photographs and other illustrations wherever possible.
Once the proposal has been agreed between Guest Editor(s) and the editors of CTR, it will be important to stick closely to agreed deadlines and to ensure that all contributors follow the style of the journal (see 'contributors' guidelines'). The journal now uses MHRA guidelines which are available for download at http://www.mhra.org.uk/Publications/Books/StyleGuide/download.shtml If contributors fail to adhere to the guidelines the article will be returned for appropriate completion and may delay publication. It is the responsibility of the Guest Editor(s) to keep their prospective contributors informed of the deadlines and of the journal style. A 'lead editor' will be identified from the CTR team, and arrangements for refereeing will be agreed between this person and the Guest Editor(s). CTR regards the peer-refereeing process as a vital part of scholarly publishing in this area. Normally, the whole issue will be sent to one referee, with each individual article also being sent to a different referee. The normal expectation is for these reports to come back within a month of the article being sent out. Once referee reports have been received, it will be the Guest Editor's responsibility to combine them, to send agreed feedback to the contributors, and to discuss with contributors any rewriting of their article.
Once an issue has been provisionally accepted for publication, Guest Editor(s) will be provided with further guidelines dealing with the submission and production process and listing all responsibilities.
Editorial Board
Editorial Board
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Editors:
David Bradby - Royal Holloway, University of London, UK
Maria M. Delgado - Queen Mary, University of London, UK
Associate Editors:
Marvin Carlson - The City University of New York, USA
Jen Harvie - Queen Mary, University of London, UK
Dan Rebellato - Royal Holloway, University of London, UK
Advisory Committee:
Calixto Bieito - Artistic Director, Teatre Romea, Barcelona
Marvin Carlson - The City University of New York, USA
Óscar Cornago Bernal - CSIS, Madrid
Declan Donnellan - Freelance director, UK
David Edgar - Playwright, UK
Jean-Claude Lallias - IUFM de Créteil, France
Patrice Pavis - Professor of Theatre, University of Paris 8, France
Mark Ravenhill - Playwright and Associate Artist, National Theatre, UK
Peter Sellars - Freelance director and Professor of World Arts & Cultures, UCLA, USA
Phillip Zarrilli - Professor of Performance Practice, University of Exeter UK
Editorial Committee:
Paul Allain - University of Kent at Canterbury, UK
Christopher Balme - University of Munich, Germany
Len Berkman - Smith College, USA
Maggie Gale - University of Manchester, UK
Erin Hurley - McGill University, Canada
Baz Kershaw - University of Bristol, UK
Paul Rae - National University of Singapore
Janelle Reinelt - University of California, Irvine, USA
Brian Singleton - Trinity College, Dublin, Eire
Caridad Svich - New Dramatists, New York, USA
Joanne Tompkins - University of Queensland, Australia |
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