ABSTRACT Contributors to this essay embrace a collaborative, dialogical approach to writing while analyzing the processes and outcomes of two undergraduate solo performance projects. Under the umbrella of critical performance pedagogy and queer intimacy, and via access to interdisciplinary ways of knowing, this essay immerses readers in a campus world that created the conditions for these two projects to be born and shared. Implications for the advisor/professor–student relationship, as well as intersections of creative process and cultural space, are discussed.

ABSTRACT This essay responds to Kasey Lynch's performance “Some(where?) That's Green” and explores the ways in which her intersectional eco-feminist lens can give voice to layers of misogyny in musical theatre characters and spaces. Lynch's autoethnographic journey with her character Audrey in Little Shop of Horrors weaves performance studies alongside the theatre canon, sharing space, but not diffusing the self that brought the body to the character on stage.

ABSTRACT This essay is written as a collection of pen-pal letters addressed to Text and Performance Quarterly (TPQ) over the span of eleven years to document how our personal relationship informed my identity formation as a performance studies scholar. The letters begin with my introduction to TPQ as an undergraduate student and end with my current role as a performance studies professor. Over the years I have come to TPQ for insight and inspiration, for refuge and resistance, for community and communion. As pen-pals, I was able to radically imagine a reciprocal relationship with open communication and room for mutual growth.

ABSTRACT In this essay, I urge teachers of performance to write their performance pedagogies to further document and theorize the careful work they do as performance scholars and practitioners that contributes to and extends disciplinary and interdisciplinary conversations. I suggest a turn toward what I call a “performance pedagogy of the small” that embraces “small performances,” and “small stages” to sustain and enliven performance practice(s) in our constantly changing contexts.

ABSTRACT In 2022, I adapted for the stage Franz Kafka’s 1914 short story “In the Penal Colony” and intertextualized the text with devised narratives about the body in pain. I theorize both the staged performance and this reflexive essay as a method of embodied intertextual resistance within literary performance practice to unearth the relationships between performance and writing, body and machine, and the page and the stage. I highlight three moments of intertextual vignettes within the production to highlight the role of literary performance in healing both ourselves and the world around us.

"A revolution in three acts: the radical Vaudeville of Bert Williams, Eva Tanguay, and Julian Eltinge." Text and Performance Quarterly, ahead-of-print(ahead-of-print), pp. 1–2

ABSTRACT In continued conversation about the exploration of adaptation and its current state, this essay recounts the genealogical experience of reperforming and sharing scripts as a way to sustain new programs by connecting them through these recycled scripts.

ABSTRACT South Asian aunties are responsible for gatekeeping in the social relations of caste-based heteropatriarchal families and in white supremacist academia. Through collective performative writing, we name the category of aunty-power, exploring its possibilities for upending the hegemonies that persist in South Asian culture, and in South Asian Studies. We are acutely aware of the need to resist Hindutva and Islamophobia and interrogate what is at stake in South Asian invocations of “aunty.” We present a reconceptualization of the aunty as subject through the figure of the auntylectual, our attempt to imagine a potentially transformative feminist figure who challenges these hierarchies.