Turning Points and Continuity

Vol 29, No 1 (2017): Turning Points and Continuity. Reformulating Questions to the Archives

Special issue edited by Erik Mattsson.

Cover picture:…and it’s gone – The Archive of Vanished Moments. Installation by Bogdan Szyber & Carina Reich. Scenkonstmuseet (Swedish Museum of Performing Arts), Stockholm. February 11th – September 10th 2017. Photo: Carl-Jonathan Szyber

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Vol 28, No 2 (2017): Theatre and Language

Cover picture: Jeff Kaplan in his solo piece Beowulf is min nama (Beowulf is my name). Photo: Donna French.


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Vol 28, No 1 (2016): Crossing Borders

Editor for this number: Mikko-Olavi Seppälä

Editor-in-Chief Laura Gröndahl, Co-editor Anna Watson

Cover picture: Reijo Kela: Silent People.  Part of the performance Ilmari’s Ploughed Field (1998). Photo: Aino Kukkonen, 2008.


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Vol 27, No 2 (2015): Mapping Theatre

Editor in Chief Anneli Saro, Co-editor Ulla Kallenbach, Review editor Magnus Tor Torbergsson.

Cover picture: idea Anneli Saro, design Laura Gröndahl, map: a composed satellite photograph of Northern Europe in orthographic projection, Wikimedia.

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Vol 27, No 1 (2015): Theatre and the Nomadic Subject

Editor for this number S.E.Wilmer

Editor-in-Chief Anneli Saro, Review Editor Magnus Tor Torbergsson

Cover picture: Tragedia Endogonidia (2002-2004), directed by Romeo Castellucci, video memory by Cristiano Carloni, Stefano Franceschetti, Socìetas Raffaello Sanzio


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Vol 26, No 2 (2014): Theatre and Technology

Editor-in-Chief Anneli Saro, Co-editor Ulla Kallenbach, Review editor Magnus Tor Torbergsson

Cover picture: Photo Kimmo Karjunen.

The photo is from the Big Stage course arranged in collaboration with the Finnish Theatre Academy, Tampere University and the University of Industrial Arts at the Tampere Workers' Theatre in spring 2009. MA students from various disciplines of theatre making participated in a ten day intensive workshop experimenting with stage machinery. The workshops advanced from simple experiments with an empty space to experimenting with all the technological machinery available to today's theatre. The course has been repeated with the same concept every 2-3 years, always with 70-80 students and a dozen teachers working from 9 am to 9 pm.

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