“TDR focuses on performances in their social, economic, and political contexts. With an emphasis on experimental, avant-garde, intercultural, and interdisciplinary performance, TDR covers dance, theatre, performance art, visual art, popular entertainment, media, sports, rituals, and performance in politics and everyday life. Long known as the basic resource for keeping up with performance studies in all aspects, TDR continues to be a lively forum of debate on important performances in every medium, setting, and culture.”

• Antandroy (Malagsy people) - rites and ceremonies
• Atka dancers
• Community arts projects - Tanzania
• Experimental theater - India
• Magic tricks - history
• Metalanguage
• Monsters
• New York (N.Y.) - intellectual life - 20th century
• Nudism - Germany - history
• Prison theater - Brazil
• Smell in theater
• Theater and state - Israel
• September 11 Terrorist Attacks, 2001 - drama
• Tantric buddhism
• United States. Uniting and Strengthening America by Providing Appropriate Tools Required to Intercept and Obstruct Terrorism (USA PATRIOT ACT) Act of 2001
• Voice culture
• Wildlife watching industry - Louisiana

Edited by Richard Schechner, together with a consortium of editors, the long running TDR presents a cross-cultural understanding of performance arts in which ritual, street theater and political demonstrations are given the same consideration as performance art or stage theater. Their deeply researched essays attest to a kaleidoscopic understanding of cross-pollinated cultures all around the world, from Ramayaṇa performances in Trinidad, to Bharata natyam dancers in India. New York City being the congealing locus of diffusion. All of them with their specific and influential methodologies, unconventional theater producers and thinkers like Eugenio Barba, Jerzy Grotowski, Ellen Steward or Augusto Boal, are given special attention, as well as the remnants of the 1960s experimental theater in the U.S. Again, with New York City as its locus, in this case, of production. A very serious journal, its letters to the editors present sporadic heated debates and polemics, and their Critical Acts and Book Review sections give the reader an indication of performance theory’s discursive formations, with everyday life as fueler and enacter of our everyday gestures, performance.