| 1 February 2004 | British Radio Dramaturgy and the Effects of the New Conservatism
| Stanton, William |
| 1 January 2016 | Can it be you that I hear?
| Macpherson, B; Thomaidis, K |
| 1 March 2020 | Capitalist realism: Glimmers, working-class authenticity and Andrea Dunbar in the twenty-first century
| Beswick, K |
| 1 September 2022 | Celestial Bodies in a Viscous Sky: Liquid Sky’s Reshaping of Aerial Space Using Lasers
| Holmes, K |
| 31 March 2021 | Class, Race, and Marginality: Informal Street Performances in the City
| Beswick, K |
| 1 November 2012 | Contra mortem, petimus scientiam: pain, tragedy, death and medicine in BLOK/EKO
| Goldingay, Sarah |
| 1 January 2016 | The Council Estate as Hood: SPID Theatre Company and grass-roots arts practice as cultural politics
| Beswick, K |
| 26 August 2011 | The council estate: representation, space and the potential for performance
| Beswick, K |
| 1 April 2020 | Dramaturging the I-voicer in A Voice Is. A Voice Has. A Voice Does.: Methodologies of autobiophony
| Thomaidis, K |
| 31 January 2019 | Drawing Adrift: Bengaluru, Mumbai, St Ives
| Turner, C |
| 12 December 2019 | Editorial: What is New in Voice Training?
| Thomaidis, K |
| 1 February 2008 | Embodying, imagining, and performing displacement and trauma in central Europe today
| Zarrilli, Phillip B. |
| 10 December 2019 | Enacting Community on Dartmoor: MED Theatre’s Badgerland: A Dartmoor Comedy (2015) and the spatial praxis of community theatre
| Schaefer, KV |
| 26 July 2022 | Exhibition curation as practice-as-research performance historiography: an incomplete story of audience experience
| Holmes, K |
| 7 January 2021 | Feeling working class: affective class identification and its implications for overcoming inequality
| Beswick, K |
| 1 May 2011 | ‘“For Without Vanity I’m Better Known”: Restoration Actors and Metatheatre on the London Stage.’
| Milling, Jane |
| 25 June 2022 | Gifting Together and Gifting Back: A Pluriphony of Postcards
| Onciul, B; Thomaidis, K |
| 6 February 2020 | Home is where the heart is: building, belonging and emotional engagement in anti-austerity performance
| Hillman, RA |
| 6 February 2020 | Housing, performance and activism: thinking with performance in times of crisis
| Beswick, K |
| 1 May 2016 | Imagining Arden: Audience responses to place and participation at Taking Flight Theatre Company’s As You Like It
| O'Malley, EM |
