CANADIAN THEATRE REVIEW

Performing the Game: Demystifying Live Action Role-Play (LARP)

Congregating around oblivion: Dissolving the Borders between Queerness and Faith through Theatre

Notes on My Forty Years with Canadian Theatre

Jacqueries: Mind Games, Street Action, and the Art of the Heist

Real-Time Game Mechanics in Theatre

Performing This is For You, Anna as #MeToo: Sexual Harassment and Performance-Based Activism on a University Campus

Relinquishing Expertise: Notes on Feminist Indigenous Performance Methodology

Why Canadians Go South: An Interview with Shaw Festival Executive Director Tim Jennings

Grand Theft Terra Firma

Tilted Dramaturgy: Combined Spectatorship, Playwriting, and Role-Playing in Bully Pulpit’s Fiasco

Extra-Rational Indigenous Performance: Dear John; Louis David Riel

Emcee Etiquettes: Experts Weigh In on How to Host the Perfect Cabaret Night

Consent on the Fringe: Restorative Justice and Accountable Communities

Editorial: How to Play

A Watershed Moment: Transitioning to Gender-Neutral Performance Awards

The Scripting of Unscripted: The Game of Making Theatre and the Theatre of Making a Game

Acting and Motion Capture in a Digital Gaming World: A Conversation between Mark Lipton and Joy Tanner

From Somewhere in the World, with Love

Creating an Escape Room: A Discussion on Experiential Learning and Interdisciplinary Studies

Bodying Difference Differently

Being in Relationship: Reflections on Dis-Performing, Hospitality, and Accessibility

The Virtual Stage’s Zombie Syndrome: Interactive Gaming on the Mean Streets of Vancouver

Exploding the Hourglass: Next-Level Intercultural Theatre Research

Feeling Authentic? When a Review May Not Be Enough

Performing Hospitality, Speaking Solidarity

Micro-Life: A Reflection on Species and Collaboration

Seeking the International Intercultural: The Seventieth Edinburgh Fringe Festival

In/hospitality and Un/inhabitability: Three Scenes in the Work of Lido Pimienta