In this Issue

Table of Contents

A Note from the Editor: Essentials

John Fletcher
pp. ix-xii
DOI: https://doi.org/10.1353/tt.2021.0020
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The Theatre Industry’s Essential Workers: Catalysts for Change

Nathan Stith, Aria Gastón-Panthaki, Rachel Morris
pp. 73-86
DOI: https://doi.org/10.1353/tt.2021.0023
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Replicating Irene’s Room: Sustaining Fornesian Playwriting in the Twenty-first Century

Anne García-Romero
pp. 87-97
DOI: https://doi.org/10.1353/tt.2021.0024
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Theatre Essentials in Three Acts: Collaboration, Care, Time

Shawn Chua, Sozita Goudouna, Adham Hafez, Eero Laine, Sarah Lucie, Juliana Moraes, Malin Palani, Rumen Rachev, Leah Sidi
pp. 99-111
DOI: https://doi.org/10.1353/tt.2021.0025
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What Is Essential in Teaching Theatre History? A Revised Theatre Studies Curriculum

Daniel Smith, Ann Folino White
pp. 113-120
DOI: https://doi.org/10.1353/tt.2021.0026
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Consent and Cameras in the Great Digital Pivot

Chelsea Pace, Laura Rikard
pp. 121-127
DOI: https://doi.org/10.1353/tt.2021.0027
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De-Roling and Debriefing: Essential Aftercare for Educational Theatre

Kate Busselle
pp. 129-135
DOI: https://doi.org/10.1353/tt.2021.0028
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Teaching in the Age of the Essential Online Classroom: Pandemic Playwriting and the Emancipated Spectator

Rick Mitchell
pp. 137-144
DOI: https://doi.org/10.1353/tt.2021.0029
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The Total Theatre Eye: A Conversation about Dramaturgy and Creativity

Karen Jean Martinson, Nicola Olsen
pp. 145-152
DOI: https://doi.org/10.1353/tt.2021.0030
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Building an Engaging Zoom World: Lessons from Dramaturging a Digital Love’s Labour’s Lost

Mike Poblete
pp. 153-160
DOI: https://doi.org/10.1353/tt.2021.0031
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Directing the Virus with 7 Towers Theatre Company’s Down from Heaven

Christina Gutierrez-Dennehy
pp. 161-167
DOI: https://doi.org/10.1353/tt.2021.0032
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Puppeteering Liveness: Reimagining Theatre for a Virtual Space

Elena Araoz, Miranda Allegar, Katharine Matthias
pp. 169-177
DOI: https://doi.org/10.1353/tt.2021.0033
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The Ethical Turn in Sustainable Technical Theatre Production Pedagogy

Ian Garrett
pp. 179-186
DOI: https://doi.org/10.1353/tt.2021.0034
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Prompts for Acknowledging Relations

Chris Bell
pp. 187-193
DOI: https://doi.org/10.1353/tt.2021.0035
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The Smell

Joshua Williams
pp. 195-198
DOI: https://doi.org/10.1353/tt.2021.0036
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Syrian Refugees, Applied Theater, Workshop Facilitation, and Stories: While They Were Waiting by Fadi Skeiker (review)

Rayya El Zein
pp. 199-200
DOI: https://doi.org/10.1353/tt.2021.0037
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(toward) a phenomenology of acting by Phillip Zarrilli (review)

Lisa Channer
pp. 200-201
DOI: https://doi.org/10.1353/tt.2021.0038
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Privileged Spectatorship: Theatrical Interventions in White Supremacy by Dani Snyder-Young (review)

Claire Syler
pp. 201-202
DOI: https://doi.org/10.1353/tt.2021.0039
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Sistuhs in the Struggle: An Oral History of the Black Arts Movement Theatre and Performance by La Donna L. Forsgren (review)

Le’mil L. Eiland
pp. 202-203
DOI: https://doi.org/10.1353/tt.2021.0040
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Staging Sex: Best Practices, Tools, and Techniques for Theatrical Intimacy by Chelsea Pace (review)

Hillary Boyd
pp. 203-204
DOI: https://doi.org/10.1353/tt.2021.0041
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Dancing in Quarantine: Performance Training across the Digital Divide

Sebastian X Samur
pp. E-23-E-28
DOI: https://doi.org/10.1353/tt.2021.0019
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Unity over Unison: Creating AntigoneNOW in Lockdown:

Margaret Laurena Kemp’s, Sinéad Rushe, Roger Ellis, Dassia N. Posner
pp. E-29-E-35
DOI: https://doi.org/10.1353/tt.2021.0021
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Total Dramaturgical Collapse in The Method Gun: American Theatre in Pandemic Time—a Conversation between Katie Pearl and Jaclyn I. Pryor

Katie Pearl, Jaclyn I. Pryorti
pp. E-37-E-43
DOI: https://doi.org/10.1353/tt.2021.0022
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