{"id":50278,"date":"2022-10-31T10:00:00","date_gmt":"2022-10-31T10:00:00","guid":{"rendered":"http:\/\/cupblog.bluefusesystems.com\/?p=50278"},"modified":"2022-10-28T19:35:56","modified_gmt":"2022-10-28T18:35:56","slug":"different-ways-of-seeing-what-makes-theatre-research-international-international","status":"publish","type":"post","link":"https:\/\/www.cambridge.org\/core\/blog\/2022\/10\/31\/different-ways-of-seeing-what-makes-theatre-research-international-international\/","title":{"rendered":"Different ways of seeing: what makes Theatre Research International \u2018international\u2019"},"content":{"rendered":"
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IFTR 2022 in Reykjavik, Iceland gave us the opportunity to meet with Senior Editor of Theatre Research International<\/em> (TRI<\/em>) Silvija Jestrovic. We spoke to her about: what makes this leading theatre studies publication truly ‘international’; what to expect from upcoming issues of the journal; what new subscribers might find in its pages; and her ambitions for TRI<\/em>‘s future.<\/p>\n\n\n\n

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What does \u2018international’ mean in terms of the journal\u2019s title, Theatre Research International\u2019<\/em>?<\/strong><\/p>\n\n\n\n

International is indeed a key word in the title of the journal, but also of the organisation (IFTR \u2013 International Federation for Theatre Research<\/a>). It means that we want to know what\u2019s going on across the globe in areas of performance.<\/p>\n\n\n\n

This not just to diversify for the sake of diversification, but to bring (in my view) different perspectives, different readings, different ways of seeing, and I think through these different ways of seeing we can see familiar things in a new way. I think this is really important for what we do.<\/p>\n\n\n\n

Who TRI is for?<\/strong><\/p>\n\n\n\n

TRI <\/em>is for scholars in the field of theatre performance studies. We are equally interested in nurturing new scholars, in supporting new scholars, as much as we are in continuing our collaboration with mid-career and established scholars. We like (when you get your issue of TRI<\/em>) that you\u2019re able to discover new names in the field, as well as find some of your superheroes too. It\u2019s about showing range and the inter-generational dialogue that is ongoing in both our organisation and in our field.<\/p>\n\n\n\n

It\u2019s open to everyone; if you are an early career scholar don\u2019t be afraid to send a paper to us \u2013 we might be the right place for you. And a reminder to all other colleagues \u2013 please send us your work as well. The journal is open to multiple generations of people at different stages of their careers.<\/p>\n\n\n\n

My hope is (as a senior editor of the journal) that the journal reflects various strands of research in our organisation and field; you will find a lot of articles relating to performance worldwide, as well as historiographical work and different methodologies. And if you want to be experimental (with, say, photography or video), then feel free to contact us for a discussion \u2013 we are open to different disciplinary positions!<\/p>\n\n\n\n

How should articles be submitted to TRI<\/em>?<\/strong><\/p>\n\n\n\n

To get published in TRI<\/em>, submit your article on the TRI <\/em>website<\/a> as a first step. This starts the process. It includes internal review (the journal editors are going to read your paper in detail, and we might write back to you asking for some further revisions before we send it to peer review); each article then goes to peer review and this feedback is really important for scholars \u2013 no matter what stage one is at in one\u2019s career. Regardless of the outcome, this feedback \u2013 and what the reviewers do and what we do as editors \u2013 is helpful in getting the articles in shape for publication. And if you want to discuss anything before you submit your article you can always email me \u2013 or approach me at the next IFTR conference<\/a>!<\/p>\n\n\n\n

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As well as Senior Editor of Theatre Research International, <\/em>Silvija Jestrovic is Associate Professor in the School of Theatre, Performance and Cultural Policy at the University of Warwick and a playwright. Find out more about the journal at https:\/\/www.cambridge.org\/TRI<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

IFTR 2022 in Reykjavik, Iceland gave us the opportunity to meet with Senior Editor of Theatre Research International (TRI) Silvija Jestrovic. We spoke to her about: what makes this leading theatre studies publication truly ‘international’; what to expect from upcoming issues of the journal; what new subscribers might find in its pages; and her ambitions […]<\/p>\n","protected":false},"author":799,"featured_media":50280,"comment_status":"open","ping_status":"open","sticky":true,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6,14,9081],"tags":[485,524,484,7092],"coauthors":[5422],"class_list":["post-50278","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-humanities","category-music-and-drama","category-theatre","tag-international-federation-for-theatre-research","tag-theatre","tag-theatre-research-international","tag-theatre-studies"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.cambridge.org\/core\/blog\/wp-json\/wp\/v2\/posts\/50278","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.cambridge.org\/core\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cambridge.org\/core\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cambridge.org\/core\/blog\/wp-json\/wp\/v2\/users\/799"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cambridge.org\/core\/blog\/wp-json\/wp\/v2\/comments?post=50278"}],"version-history":[{"count":3,"href":"https:\/\/www.cambridge.org\/core\/blog\/wp-json\/wp\/v2\/posts\/50278\/revisions"}],"predecessor-version":[{"id":50283,"href":"https:\/\/www.cambridge.org\/core\/blog\/wp-json\/wp\/v2\/posts\/50278\/revisions\/50283"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.cambridge.org\/core\/blog\/wp-json\/wp\/v2\/media\/50280"}],"wp:attachment":[{"href":"https:\/\/www.cambridge.org\/core\/blog\/wp-json\/wp\/v2\/media?parent=50278"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cambridge.org\/core\/blog\/wp-json\/wp\/v2\/categories?post=50278"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cambridge.org\/core\/blog\/wp-json\/wp\/v2\/tags?post=50278"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/www.cambridge.org\/core\/blog\/wp-json\/wp\/v2\/coauthors?post=50278"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}