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T3 Journal: Issue 6 (2025-6) 
Editorial Note
“What’s your perspective?”  
This is a question that was in the air as we prepared this year’s journal. How do 
we approach theatre, its meanings, its significance and its potential? From what 
perspective (or perspectives) do we approach it? Could a change of perspective 
change our understanding, of theatre or of the world it responds to? What is each 
one of us uniquely able to see? 
This is more than a question of identity, as this journal issue makes clear. The  
submissions have been loosely arranged into sections, although they speak to one 
another. 
We begin with a selection of essays that sidestep any assumed centrality for a UK 
or monolingual perspective, beginning with Sreenisha Kanchiraju’s discussion of 
Aur Kitne Tukde (2001), directed by Kirti Jain. Xanthe Baylis and Theo Saltissi  
discuss the relocation of modernist plays to other contexts (post-colonial South 
Africa and Ireland respectively). The concluding two essays, from Cerys Gruneberg 
and Colly Roberts, focus on language: festivals as mediators for the politics of  
bilinguality; and the legacies of inexact translations. 
The second section contains essays that consider identity, often intersectionally. 
Gender, class, sexuality and ethnicity are all subjects of discussion in  
contributions from Bel McFerran, Ophelia Mills, Flo Gunstone, and Rudi Carson, 
closing with Ashley Khoo’s reflection on the individual cost of high visibility,  
balanced against the importance of representation. 
The three essays that follow in the third section all originally responded to the 
same essay question. These consider “Hacktivism”, which deliberately changes 
the perspective, “hacking” the hegemonic narratives and images that surround us. 
Georgina Peters, Ophelia Mills and Adam Purdy all bring their own approaches and 
case studies to this question, in essays that complement one another. 
The last section considers practical methods, including Jemima Brown on  
modalities of intermedial theatre; Jacob Allen-Roe’s interview with acclaimed  
director, Jenny Sealey; an analysis of Kazuo Ohno’s performance from Daniel  
Siner; a discussion of actor training from Emma Gibbon and an inside view of a 
performance process from Adam Purdy. 

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