Professor Reinelt is one of the most internationally respected academics in the discipline and recently completed her four-year term as the President of the International Federation for Theatre Research, the leading international academic organisation for theatre and performance studies. She is co-editor of the series Studies in International Performance for Palgrave Macmillan and an ex-editor of Theatre Journal. Her major area of interest is contemporary performance with an emphasis on contemporary British theatre, and international performance research and pedagogy. Her books include After Brecht: British Epic Theatre (1994), Critical Theory and Performance (1992, co-edited with Joseph Roach; new and revised edition 2007), The Performance of Power: Theatrical Discourse and Politics (1991, co-edited with Sue-Ellen Case), The Cambridge Companion to Modern British Women Playwrights (2000, with Elaine Aston), Crucibles of Change: Social Change and Performance (2000) and Gender in Cultural Performances (2005). She is currently working on a book entitled The Political Theatre of David Edgar: Negotiation and Retrieval with her partner, political philosopher Gerald Hewitt. She was the international member of the review team for Theatre and Performance Studies for the last Research Assessment Exercise.

 

• Politics and Performance
• International Performance and Culture
• Contemporary British Theatre
• Public Events as Performance
• Performance Theory, especially Feminist and materialist performance
• Documentary Performances

• “Navigating Postfeminism:  Writing Out of the Box,” in Feminist Futures?: Theory, Theatre, Performance, Ed. Elaine Aston, Palgrave/Macmillan, forthcoming 2006.
   
• Expanded and reprinted in Postfeminismus - Definitionen und Debatten seit 1980/ Postfeminism – Debates and Definitions since 1980, Ed. Birgit Haas, Würzburg: Königshausen & Neumann, 2006.
   
• “Retrospective: Janelle Reinelt: Final Session(final thoughts) on heightened language: impass or interchange?” in Shakespeare, Language and the Stage; The Fifth Wall: Approaches to Shakespeare from Criticism, Performance and Theatre Studies,  Eds. Lynette Hunter and Peter Lichtenfels, The Arden Shakespeare/Thomson Learning, 2005

• “Performing Justice for the Future of our Time,” in Morality and Justice: The Challenge of European Theatre, Eds.Edward Batley, and David Bradby, Rodopi Press, 2001, 37-52.
   
• “Performance and Identity for a ‘New’ Europe,” in Theatre, History and National Identitites,Eds. Makinen, Worthen, and Wilmer, Helsinki University Press, 2001, 227-256.
   
• “Staging the Nation on Nation Stages,” in Of Borders and Thresholds, Ed. Michal Kobialka, University of Minnesota Press, 1999, 125-153.
   
• Reprinted in Finnish as, “Kansakunta kansojen näyttämöllä,” in Teatteriesityksen Tutkiminen, Ed. Pirkko Koski, Helsingin Yliopiston Teatteritiede, 2005.
   
• “Notes for a Radical Democratic Theater: Productive Crises and the Challenge of Indeterminacy,” in Staging Resistance; Essays on Political Theater, Eds. Jeanne Colleran and Jenny S. Spencer, University of Michigan Press, 1998, 283-300.
   
• “Notes on Angels in American as American Epic Theater,” in Approaching the Millennium, Eds. Deborah R. Geis and Steven F. Kruger, University of Michigan Press, 1997, 234-44.
• “Beyond Brecht: Britain’s New Feminist Drama” in Feminist Theater and Theory, Ed. Helene Keyssar Macmillan Press Ltd., 1996, 35-48.
• “Rethinking Brecht: Deconstruction, Feminism and the Politics of Form,” in Modern Drama; Plays, Criticism/Theory, Ed. W.B. Worthen, Harcourt Brace Publishers, 1995, 791-796.                         
   
• "Is the English Epic Over?" in The Critical Gamut; Festschrift for Ruby Cohn, Ed. Enoch Brater, University of Michigan Press, 1995, 209-222.        
   
• "Fanshen: Hare and Brecht," in David Hare: A Casebook, Ed. Hersh Zeifman, Garland Press, 1994, 127-140.
   
• “Resisting Thatcherism: The Monstrous Regiment and the School of Hard Knox,” in Acting Out: Feminist Performances, Eds. Peggy Phelan and Lynda Hart, University of Michigan Press, 1993, 161-179.
   
• Bertolt Brecht and Howard Brenton: Selected Affinities,” in Howard Brenton: A Casebook, Ed. Ann Wilson, Garland Press, 1992, 39-58.
   
• “Storey’s Novels and Plays: Fragile Fictions,” in David Storey: A Casebook, Ed. William Hutchins, Garland Press, 1992, 53-72.
   
• “Gender and History in Hurlyburly: A Feminist Reading,” David Rabe: A Casebook, Ed. Toby Zinman, Garland Press, 1991, 191-205.
   
• “Theorizing Utopia: Edward Bond’s War Plays,” in The Performance of Power: Politics and Theatrical Discourse, Ed. Case and Reinelt, University of Iowa Press, 1991, 221-232.
   
• “Beyond Brecht: Britain’s New Feminist Drama,” in Performing Feminism: Feminist Critical Theory and Theatre, Ed. Sue-Ellen Case, John Hopkins University Press, 1990, 150-159.
   
• “Approaching the Postmodernist Threshold: Samuel Beckett and Bertolt Brecht,” The Aesthetics of the Critical Theorists; Studies in Benjamin, Adorno, Marcuse, and Habermas, Ed. Ronald Roblin, Edwin Mellen Press, 1990, 337-358.
   
• "Rethinking Brecht:  Deconstruction, Feminism and the Politics of Form," Essays on Brecht; The Brecht Yearbook 15, Eds. Marc Silberman et al., University of Maryland, 1990, 99-110.
   
• "Michelene Wandor, Artist and Ideologue," in Making a Spectacle: Feminist Perspectives on Contemporary Women's Drama, edited by Lynda Hart, Univ. of Michigan Press, 1989, 239-258.
   
• "Judith Malina," Notable Women in the American Theatre, Eds. Alice M. Robinson et al., Greenwood Press, 1989, 577-581.
   
• "Politics and Theatre in Britain:  An American View,"  in  West Coast Plays l9/20, Ed. Robert Hurwitt, California Theatre Council, l987, 223-230.
    

•  “The Limits of Censorship,” Theatre Research International Vol.32, No.1, 2007, 3-15.

• “Towards a Poetics of Public Events: In the Case of Stephen Lawrence,” TDR Vol. 50, No.3 (T191) 2006, 69-87.

• “National Signs: Estonian Identity in Performance,” Sign System Studies, Vol. 33, No.2, 2005, 369-378.

•  “The Ambivalence of Catholic Compassion,“ Journal of Dramatic Theory and Criticism, Vol. 20,  No.1,  2005, 103-112.

• “Theatre and Politics: Encountering Badiou,” Performance Research special issue on Civility, Vol. 9, No. 4, 2004, 87-94.

• “Politics, Playwriting, Postmodernism: An Interview with David Edgar,” Contemporary Theatre Review, Vol. 14, No. 4, 2004, 42-53.

• “Principles and Pragmatics in Political Theatre: David Edgar’s Continental Divide,” with Gerald Hewitt, Theatre Forum 25 (summer/fall), 2004, 3-14. “The Prisoner’s Dilemma: Game Theory, Conflict Resolution, and the New Europe,” with Gerald Hewitt, Contemporary Theatre Review, Vol. 13, No.2, 2003, 41-55. “Public Discourse as Performance: The Art of Anna Deavere Smith,” trans. Into Polish as “Publiczny Dyakura w Formie Scenicznej,” Didaskalia 2003/53, 110-114. “The Politics of Discourse: Performativity Meets Theatricality,” Substance, special issue on Theatricality,  Edited by Josette Féral,  Vol 31, Nos 2 & 3, 2002, 201-215 “Approaching the Sixties: Between Nostalgia and Critique,” Theatre Survey Vol 43, No. 1, May 2002, 37-58. “Performing Europe: Identity Formation for a ‘New” Europe,” Theatre Journal Vol 53, No. 3, October 2001, 365-388. “’It’s the real thing’: Performance and Murder in Sweden,” with Ola Johannsson and Willmar Sauter, in European Review Vol 9, No. 3, 2001, 319-337.

• “Building Bridges: Life on Dunbar’s Arbor, Past and Present,” with Elaine Aston, in Theatre Research International Vol 26, No. 3, October 2001, 285-293.  

• “Toward A Stubborn Insistence on Novelty in Theatrical Representation,” trans. into Polish as “O niezbednej potrzebie nowosci w teatrze,” Didaskalia December 2000/40, 94-98.

• “Kommenterar ar Willmar Sauter,” in Visslingar & Rop; Tidskrift för Teater och Teori No. 7, 1999, 96-100, Trans. Ola Johansson from Gestos, fall 1998.

• “Performing Race: Anna Deavere Smith’s Fires in the Mirror,” Modern Drama Vol. 39, No. 4, Winter 1996, 609-617.

• “Tracking Twilight The Politics of Location,” TheatreForum  #6. Spring 1995, 52-57. 

• "Theatre on the Brink of 2000: Shifting Paradigms," Special Issue of Theater Research International, Vol 20, Summer, 1995,123-131.

• "The Brecht/Lukacs Debates: A Feminist Reconsideration," Women and Performance, Vol.7, No. 1 1994, 122-140.

• "The Hybrid Cultures of Gospel at Colonus and the Politics of Representation," Theatre Annual, Vol 47, 1994, 97-109.  

• "The Crisis of Visibility in Theatrical Representation," Text and Performance Quarterly, Vol.14, No.2 Spring 1994, 97-107.

• "Speculations of Spectatorship:  Dominant Hegemony and the Historical Moment," Proceedings of the XIth FIRT/IFTR  Congress, Nordic Theatre Studies (Special International Issue), Ed. Willmar Sauter, Stockholm, 1990, 128-131.

• "The Politics of Form:  Realism, Melodrama and Pam Gem's  Camille," in Women and Performance, Vol 4, No. 8, l989, 96-103.  

• “Feminist Theory and the Problem of Performance," Modern  Drama, Vol. 32, No. 1, 1989, 48-57.

• "Beyond Brecht:  Britain's New Feminist Drama," Theatre Journal, Vol. 37, No. 3, spring 1986, 154-163.

• "New Beginnings/Second Wind:  The Eureka Theatre," Yale Theater. Summer/Fall, 1985, l7-22.

• "Elaborating Brecht--Churchill's Domestic Drama," Communications, Vol. 14, No. 2, April l985, 49-56.

• "Bertolt Brecht and Howard Brenton:  The Common Task,"  Pacific Coast Philology,  Vol. 20, No. 1-2, November  l985, 46-52.

 

 

 

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