Example of Journal of Contemporary Drama in English format
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Example of Journal of Contemporary Drama in English format Example of Journal of Contemporary Drama in English format Example of Journal of Contemporary Drama in English format Example of Journal of Contemporary Drama in English format Example of Journal of Contemporary Drama in English format Example of Journal of Contemporary Drama in English format Example of Journal of Contemporary Drama in English format Example of Journal of Contemporary Drama in English format Example of Journal of Contemporary Drama in English format Example of Journal of Contemporary Drama in English format Example of Journal of Contemporary Drama in English format Example of Journal of Contemporary Drama in English format Example of Journal of Contemporary Drama in English format Example of Journal of Contemporary Drama in English format
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Example of Journal of Contemporary Drama in English format Example of Journal of Contemporary Drama in English format Example of Journal of Contemporary Drama in English format Example of Journal of Contemporary Drama in English format Example of Journal of Contemporary Drama in English format Example of Journal of Contemporary Drama in English format Example of Journal of Contemporary Drama in English format Example of Journal of Contemporary Drama in English format Example of Journal of Contemporary Drama in English format Example of Journal of Contemporary Drama in English format Example of Journal of Contemporary Drama in English format Example of Journal of Contemporary Drama in English format Example of Journal of Contemporary Drama in English format Example of Journal of Contemporary Drama in English format
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Journal of Contemporary Drama in English — Template for authors

Publisher: De Gruyter
Categories Rank Trend in last 3 yrs
Literature and Literary Theory #413 of 845 down down by None rank
Visual Arts and Performing Arts #292 of 532 down down by None rank
journal-quality-icon Journal quality:
Good
calendar-icon Last 4 years overview: 76 Published Papers | 12 Citations
indexed-in-icon Indexed in: Scopus
last-updated-icon Last updated: 06/07/2020
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Journal Performance & Insights

CiteRatio

SCImago Journal Rank (SJR)

Source Normalized Impact per Paper (SNIP)

A measure of average citations received per peer-reviewed paper published in the journal.

Measures weighted citations received by the journal. Citation weighting depends on the categories and prestige of the citing journal.

Measures actual citations received relative to citations expected for the journal's category.

0.2

33% from 2019

CiteRatio for Journal of Contemporary Drama in English from 2016 - 2020
Year Value
2020 0.2
2019 0.3
2018 0.2
graph view Graph view
table view Table view

0.113

19% from 2019

SJR for Journal of Contemporary Drama in English from 2019 - 2020
Year Value
2020 0.113
2019 0.139
graph view Graph view
table view Table view

0.513

1% from 2019

SNIP for Journal of Contemporary Drama in English from 2018 - 2020
Year Value
2020 0.513
2019 0.518
2018 0.596
graph view Graph view
table view Table view

insights Insights

  • CiteRatio of this journal has decreased by 33% in last years.
  • This journal’s CiteRatio is in the top 10 percentile category.

insights Insights

  • SJR of this journal has decreased by 19% in last years.
  • This journal’s SJR is in the top 10 percentile category.

insights Insights

  • SNIP of this journal has decreased by 1% in last years.
  • This journal’s SNIP is in the top 10 percentile category.

Journal of Contemporary Drama in English

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De Gruyter

Journal of Contemporary Drama in English

Approved by publishing and review experts on SciSpace, this template is built as per for Journal of Contemporary Drama in English formatting guidelines as mentioned in De Gruyter author instructions. The current version was created on and has been used by 851 authors to write and format their manuscripts to this journal.

Literary Studies

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Last updated on
05 Jul 2020
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ISSN
2195-0156
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Sherpa RoMEO Archiving Policy
Yellow faq
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Plagiarism Check
Available via Turnitin
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Endnote Style
Download Available
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Citation Type
Numbered
[25]
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Bibliography Example
C. W. J. Beenakker. Specular andreev reflection in graphene. Phys. Rev. Lett., 97(6):067007, 2006.

Top papers written in this journal

open accessOpen access Journal Article DOI: 10.1515/JCDE-2016-0004
Watching, attending, sense-making: spectatorship in immersive theatres

Abstract:

This paper addresses the aesthetic, corporeal and intellectual dimensions of spectatorship in immersive theatre. Immersive work engages audiences at an experiential level and within environments that prompt multisensory engagement and explorative forms of audience participation. Immersive theatre makers, such as De La Guarda,... This paper addresses the aesthetic, corporeal and intellectual dimensions of spectatorship in immersive theatre. Immersive work engages audiences at an experiential level and within environments that prompt multisensory engagement and explorative forms of audience participation. Immersive theatre makers, such as De La Guarda, dreamthinkspeak and Punchdrunk, have been making internationally recognised work throughout the twenty-first century. While audience interaction and participation has attracted a great deal of scholarly attention over the past few years, the significance of watching in immersive theatre remains elusive and merits further consideration. Drawing on Immersive Theatres (Machon, 2013) and referencing a full range of practice that is exemplary, this paper describes and defines ‘immersive theatres’ in broad terms. Using Punchdrunk’s The Drowned Man (2014-15) as illustration, it considers the types of experience to be had and the qualities of watching that result in such events. In turn it addresses the type of ‘sense’ individuals can make when they are spectators to their own interactions, attendant to their actions and reactions. read more read less
View PDF
21 Citations
open accessOpen access Journal Article DOI: 10.1515/JCDE-2016-0006
Making Mistakes in Immersive Theatre: Spectatorship and Errant Immersion

Abstract:

Immersive theatre makers often go to great lengths to configure and control each aspect and detail of an immersive theatre environment; but what happens when an audience member breaches its borders, while remaining unaware of their transgression? This article explores how the coherence of an immersive theatre aesthetic is not... Immersive theatre makers often go to great lengths to configure and control each aspect and detail of an immersive theatre environment; but what happens when an audience member breaches its borders, while remaining unaware of their transgression? This article explores how the coherence of an immersive theatre aesthetic is not necessarily threatened by acts of ‘errant immersion’, in which the audience strays off an immersive map designed and intended for them. The errantly immersed spectator accepts but accidentally takes too far an invitation to explore, perceiving and folding a range of aesthetic stimuli that are unintended by a designer into their immersive experience of a theatre event. Drawing on studies of immersion, failure and urban dramaturgy in recent theatre and performance discourse, and reflecting on anecdotal experiences of errant immersion in work by dreamthinkspeak and Coney, the article reflects on the creative and constitutive role played by audiences in immersive theatre aesthetics, and assesses the currency of the immersive theatre neologism through an address of its core subject: the audience. read more read less
View PDF
17 Citations
open accessOpen access Journal Article DOI: 10.1515/JCDE-2014-0009
Staging the unsayable: debbie tucker green's political theatre

Abstract:

debbie tucker green is one of the most stylistically innovative and politically engaged playwrights at work in Britain today. Her prolific output is widely recognised in discussions of contemporary black British theatre, where she is often named alongside Kwame Kwei-Armah and Roy Williams as the leading playwrights of their g... debbie tucker green is one of the most stylistically innovative and politically engaged playwrights at work in Britain today. Her prolific output is widely recognised in discussions of contemporary black British theatre, where she is often named alongside Kwame Kwei-Armah and Roy Williams as the leading playwrights of their generation. Moreover, she has become a figurehead for new British playwriting more broadly, as evinced by her inclusion in Aleks Sierz’ Rewriting the Nation: British Theatre Today (2011). Yet this energetic acclaim was preceded by a period of critical questioning; early reviewers responded indignantly to her subversion of conventional plot structures, highly stylised use of language and assuredly sparse stage design. Many saw these features as a failure to fulfil the demands of the dramatic medium; some hesitated to use the term “play” to classify her work. One critic, receiving her drama as an aural rather than visual or embodied experience, claimed that she would “find a happier home on [BBC] Radio 3” (I. Johns). In another particularly piqued response, reviewer Dominic Cavendish parodied the demotic voice in which tucker green’s characters speak: “I don’t do silence, innit” (251). This invocation of silence – or, rather, its absence – is intriguing. Cavendish is right that tucker green’s plays are marked by chaotic dialogue: incessant repetition, overlap and interruption. Yet, amidst this proliferation of speech, much remains unsaid. This article examines tucker read more read less

Topics:

Political theatre (63%)63% related to the paper, Silence (52%)52% related to the paper, Literary criticism (51%)51% related to the paper
View PDF
15 Citations
Journal Article DOI: 10.1515/JCDE-2020-0003
Tragedies of the Capitalocene
Wendy Arons1

Abstract:

Abstract The idea of the “Anthropocene” is rapidly gaining currency as an ecocritical lens through which to view theater and performance. But as a lens for critical analysis, the concept of the “Anthropocene” is problematic, primarily because it fails to differentiate among humans, many of whom are in conflict precisely becau... Abstract The idea of the “Anthropocene” is rapidly gaining currency as an ecocritical lens through which to view theater and performance. But as a lens for critical analysis, the concept of the “Anthropocene” is problematic, primarily because it fails to differentiate among humans, many of whom are in conflict precisely because the benefits and costs of the “Age of Man” have been distributed unevenly. Neo-Marxist critics take such conflicts into fuller account in their argument that a better nomenclature and concept for our epoch is the “Capitalocene,” a term that captures the fact that our ecological crises have been precipitated not by humans in some undifferentiated and generalized way, but more specifically by the global spread of capitalism and its socio-economic-ecological injustices. These are also conflicts at the heart of many plays, both historical and recent. This essay offers an overview of a number of works that might productively be categorized as “Tragedies of the Capitalocene,” insofar as they dramatize stories that trace the dynamics of “Capitalocene” exploitation of both human and nonhuman resources. Plays considered include Cherríe Moraga’s Heroes and Saints (1992), Rahul Varma’s Bhopal (2001), Kia Corthron’s A Cool Dip in the Barren Saharan Crick (2010), Annabel Soutar’s Seeds (2012), Robert Schenkkan’s The Kentucky Cycle (1991), and Colleen Murphy’s The Breathing Hole (2017). read more read less
11 Citations
open accessOpen access Journal Article DOI: 10.1515/JCDE-2016-0011
What do Audiences Do? Negotiating the Possible Worlds of Participatory Theatre

Abstract:

Questions around what audiences do are becoming ever more complex as innovative modes of participation are developed in contemporary immersive, interactive and intermedial theatre. Drawing on examples from Uninvited Guests, Void Projects, Punchdrunk, Blast Theory and other contemporary theatre practitioners, this article ... Questions around what audiences do are becoming ever more complex as innovative modes of participation are developed in contemporary immersive, interactive and intermedial theatre. Drawing on examples from Uninvited Guests, Void Projects, Punchdrunk, Blast Theory and other contemporary theatre practitioners, this article suggests that new models are needed in order to reason about the experience of the contemporary theatre audience. It proposes that the philosophical framework of Possible Worlds Theory, as used by digital theorists to elucidate the reader’s experience of hypertext fiction, can also provide tools and a language which recognise and validate the complexities of spectatorial practices in participatory theatre. The article uses digital theory and several applications of Possible Worlds Theory to reveal some implications of active spectating as it explores what it means to manoeuvre between successive states of immersion and interaction through an aesthetic process. read more read less
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10 Citations
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13. What is Sherpa RoMEO Archiving Policy for Journal of Contemporary Drama in English?

SHERPA/RoMEO Database

We extracted this data from Sherpa Romeo to help researchers understand the access level of this journal in accordance with the Sherpa Romeo Archiving Policy for Journal of Contemporary Drama in English. The table below indicates the level of access a journal has as per Sherpa Romeo's archiving policy.

RoMEO Colour Archiving policy
Green Can archive pre-print and post-print or publisher's version/PDF
Blue Can archive post-print (ie final draft post-refereeing) or publisher's version/PDF
Yellow Can archive pre-print (ie pre-refereeing)
White Archiving not formally supported
FYI:
  1. Pre-prints as being the version of the paper before peer review and
  2. Post-prints as being the version of the paper after peer-review, with revisions having been made.

14. What are the most common citation types In Journal of Contemporary Drama in English?

The 5 most common citation types in order of usage for Journal of Contemporary Drama in English are:.

S. No. Citation Style Type
1. Author Year
2. Numbered
3. Numbered (Superscripted)
4. Author Year (Cited Pages)
5. Footnote

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