World-renowned New Theatre Quarterly celebrates its fifty years of publication and its 200th issue, this being the last under the editorship of Maria Shevtsova. Simon Trussler, founder of Theatre Quarterly in 1971 (which closed for lack of funding in 1981) always considered New Theatre Quarterly, established with Cambridge University Press in 1985 – and with Clive Barker as co-editor – to be simply a continuation of TQ. Maria Shevtsova fully agreed. Forty issues of TQ, combined with one hundred and sixty editions of NTQ, gives the magic figure 200. The logistics of things, however, means that the number 160 appears on the cover of the present issue (the ‘New’ in New Theatre Quarterly standing for the newly resurgent journal on the back of its predecessor). This present issue also celebrates Maria Shevtsova’s twenty years of co-editorship with Simon Trussler, together with five more years of sole editorship of the journal following his death in 2019 (commemorated in NTQ 142, May 2020; see also their respective editorials, ‘One Hundred Issues and After’, in NTQ 100, November 2009).

Twenty-five years of absolute commitment and tireless work call for recognition and thanks. Assistant editor Philippa Burt here discusses with Shevtsova her vision for the journal, and how her scholarship, research, teaching, as well as her numerous academic and outreach activities in multiple media, connected with her editorial commitment. This conversation took place on 19 June 2024.

This is the third in a trilogy of articles for NTQ addressed to the ‘noises off’ supplied by Shakespeare’s earliest co-stars: the baited bears that competed for trade, fame, and patronage for the duration of his career as an actor-playwright. ‘Shakespeare and the Three Bears’ (NTQ 106, May 2011) sketched this context, exposing as a canard, via a mistakenly omitted comma, that there ever was a bear named Harry Hunks. ‘Shakespeare and the Naming of Bears’ (NTQ 135, August 2018) examined the influence of these rival entertainments on the structure and detail of Romeo and Juliet. ‘Shakespeare’s Polar Bears’ now expands that investigation by seeking to offer a long view of the dramatist’s association with, and attention to, such foul animal ‘sports’, and to supply a comprehensive context for the most famous stage direction in theatre history.

Edward Gordon Craig was a controversial and iconoclastic figure in the early twentieth-century British theatre. Underpinning his work as a director, designer, and essayist was a desire to secure obedience and loyalty from the people with whom he worked and to ensure that he was the unquestioned authority. Nowhere was this ambition clearer than in his School for the Art of the Theatre, which he ran in Florence from 1913 to 1914. This article draws on extensive archival research, providing a detailed examination of the School’s structure, organization, and curriculum and demonstrating the importance that Craig placed on discipline, which became the School’s governing principle. It contextualizes the School’s practice, discussing Craig’s work in and outside the theatre and his political views so as to consider why he prized discipline above all else. In particular, the article reveals, for the first time, his intense misogyny and celebration of fascism in the 1920s and 1930s, and shows how this informed his school scheme and was informed by it.

Whereas the earliest farces deal with human appetites on the most basic level, by the mid-nineteenth century these had been sublimated and incorporated into a newly mechanical format. Inaugurated by Eugène Labiche, and perfected by Alfred Hennequin and Georges Feydeau, these masterpieces of clockwork ingenuity would appear to be the inspiration for Henri Bergson’s theory of comedy. This article explores the evolution of this style of farce, and demonstrates how Bergson’s influential ideas were themselves influenced not only by the popularity of the boulevard theatre, but also by prevailing concepts of clinical psychology and a Symbolist aesthetic. It is further argued, however, that Bergson’s reduction of the comic butt to an automaton fails to account for the empathetic element: the heavy quantum of anxiety conveyed from character to spectator.

This overview presents kunqu’s historical journey, suggesting its future trends on European stages. Over the decades, kunqu has grown from traditional performances to avant-garde adaptations, including notable versions of The Peony Pavilion by Peter Sellars and also Chen Shizheng, which fostered intercultural dialogue. Key performances by troupes and artists have modernized kunqu, as exemplified by Bai Xianyong’s youth edition of The Peony Pavilion, and its appeal to younger audiences. Pre- and post-performance lectures have enhanced European understanding of kunqu, contributing to its recognition internationally. The dynamic interplay between tradition and innovation, and local and global perception, reveals kunqu’s enduring relevance and its active role in cultural exchange.

With a history of over six hundred years, Kun Opera is one of the oldest types of opera still actively performed in China today. In some Kun Opera plays, the story is set in a garden, which becomes an important narrative motif. Such plays were frequently staged in gardens, usually for private gatherings. The twenty-first-century revival of this type of garden Kun Opera took place during a strong wave of cultural tourism, aligning cultural preservation with economic development. A prototypical example is Six Records of a Floating Life, which, since 2018, has been performed at Canglang Pavilion, one of the classical gardens of Suzhou. An inventive yet historically informed production of garden Kun Opera, Six Records of a Floating Life provides an immersive aesthetic and more broadly cultural experience, situating Kun Opera in the economic, cultural, and social context of contemporary life.

This article analyzes three contemporary plays by trans and gender-non-conforming artists from the United States that engage with forest fires and queer ecology. These three plays – MJ Kaufman’s Sagittarius Ponderosa, Agnes Borinsky’s The Trees, and Kari Barclay’s How to Live in a House on Fire – tie wildfire to colonial histories of fire suppression and imagine a just climate transition as linked to queer and trans self-reinvention. The article describes this dramaturgical tactic as ‘burning hope’ – letting go of straight, settler desire and gesturing toward reciprocal obligation with the non-human world. Building on Kim TallBear’s call to attend to organic matter and Stephen Pyne’s study of fire history in the ‘Pyrocene’, the article imagines theatre as a prescribed burn that can re-orient audience relations to futurity. Burning hope does not abandon hope; it recognizes grief as mobilization for environmentalist solidarities.

Laween is among several Palestinian theatre cooperatives established over the last decade, which have not received sufficient attention from theatre scholars. Born out of the struggle of living under Israeli apartheid, the repression of the Palestinian Authority, and alienation from NGO theatres, whose work has been depoliticized by reliance on foreign funding, the emergence of these theatre cooperatives represents a significant change in the Palestinian cultural landscape. Working with a renewed cultural and political consciousness, Laween seeks to reflect collectively on, and resist the various forms of oppression experienced by, the Palestinian community. The ongoing Israeli genocide in Gaza, together with Israeli military and settler violence in the West Bank, make it more pertinent than ever to rethink what ‘cultural resistance’ means in the Palestinian context and to give attention to the community initiatives grappling with the brutal realities of ethnic cleansing through art. The interview here with two of the founding members of Laween, Mousa Nazzal and Hamza Al-Bakri, discusses the development, challenges, and envisaged future of this Palestinian theatre cooperative.

The Hi PerformanCZ visitor programmes, hosted regularly by the Czech Arts and Theatre Institute since 2018, have invited international theatre professionals, from directors and promoters to critics, to immerse themselves in the variety of theatre on the contemporary Czech stage. Showcased performances, themed in programmes dedicated to theatre for children and young people, puppet theatre, and text-based theatre, among other examples, are accompanied by symposia, meetings with Czech theatre-makers, theatre tours, and museum visits. In this article Mark Brown provides an overview of the Czech showcases from 2018 to 2024, while focusing particularly on four productions: Tomáš Dianiška’s The Magnificent 294 (2020, showcased 2023); Jan Jirků’s Zá-to-pek! (2019, showcased 2022); director Jan Mikulášek’s staging of Thomas Bernhard’s novel Woodcutters (2018, showcased 2022 and 2023); and Brno’s Goose on a String Theatre’s collectively devised piece Smokeout (2022, showcased 2024). These productions markedly represent the diverse strengths of Czech theatre in the twenty-first century.

Emil Boroghină founded the Shakespeare Festival in Craiova in 1994 with the longer-term intention of making it an international festival of significant, indeed world, standing. This article, written in honour of Boroghină and dedicated to him, offers an overview of the Festival’s programming and related details from its triennial period to its present biennial existence. It draws particular attention to Boroghină’s selected outstanding directors (‘great directors, great productions’, in his words, and the title of one of his editions) without, however, losing sight of the Festival’s varied theatre activities, especially in the celebratory year of 2024.