Who Owns the Distant Sound? Auditory Authority in Chekhov's The Cherry Orchard

Rex A. Wade, Arjun Mehta

A Full House Is Not a Full Measure: Performing-Arts Institutions Must Evaluate What Attendance Cannot Show

Marguerite Johnson

The Programme Note as a Second Encounter: Writing for Curiosity Without Pre-Empting Performance

Kendra Preston Leonard

After the Final Curtain: Props, Repair, and the Ethics of Scenic Reuse

Ġorġ Mallia

Paper Voices on the Operatic Stage: Letters, Seals, and the Circulation of Knowledge in Le nozze di Figaro

Wallace Kirsop, Ryan Mitchell

The Rest That Remembers: Cadential Delay and Cyclic Recall in Schumann's Kinderszenen

Oliver Hughes, Brendan Patrick Myers

Rooms in the Conditional Mood: Door Position and Deferred Action in Hammershøi’s Strandgade Interiors

Brian Cogan, James Walker

Learning to Remain Uncertain: Performing-Arts Pedagogy Beyond the Single Answer

Christine Borland

Access as Form: Inclusive Performance Design Beyond Accommodation

Piotr Oczko

Performing Historical Authority: Epigraphic Voice and Dramaturgical Framing in the Nineteenth-Century Novel

Clemente Marconi, Ackbar Abbas