Interview with trans artist Ada M. Patterson (b. 1994, Bridgetown) based between Barbados, London and Rotterdam. She works with masquerade, performance, poetry, textiles and video, looking at the ways storytelling can limit, enable, complicate or abolish identity formation.

This chapter charts the findings of a research project that examined Meyerhold’s lost architectural experiment using computer-based 3D visualisation as a research method.

Frederick Kiesler’s unrealized Endless Theatre (1916–26) project is employed as a case study for articulating ‘paradata’ in heritage visualization.

My embracing of ‘practice research’ (see Hann 2015) seeks to bring the established positions on conducting research through practice together under one heading. Indeed, I had become tired of the circular arguments that would occur about the differences between practice as/through/based/led research.

This article announces the creation of a new section in STP dedicated to the dissemination of Practice-as-Research (PaR) projects. The authors argue the need for a sustainable archive for PaR outcomes, which embraces a range of media formats and curatorial strategies.

Costume is critical. It is critical to making performance, critical to spectator- ship, critically overlooked within scholarship, notable when in crisis, and a means of critically interrogating the body. It is therefore critical that we discuss costume. Yet, it is equally imperative for costume to find appropriate methods and frameworks to support new forms of practice. A critical discourse of costume aims to promote new questions and scholarship on the intersections between body, design and performance. This is the concern of critical costume.

This research project examines the dramaturgical implications of three historically significant unrealized theatres through the process of computer-based 3D visualization.