ISSN: 13180509
Online ISSN: 2050957X
First published in 2013
4 issues per volume
Current Issue:
Volume 30 / Issue 169-171 Free Issue
Volume 29 | Issues 161-162
Personal subscription: £36
Single issue price:
Institutional subscriptions: £132, $185
Online subscriptions: £99, $140
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Amelia Kraigher

Janez Janša

MaskaThe Performing Arts Journal is Europe’s oldest professional journal in its field. For the last two decades Maska has fostered a high-level professional discourse in a range of subjects such as performance studies and theories of contemporary dance in connection with the broader field of contemporary arts, multimedia practices, social theory and philosophy. Since 2001, Maska has been bilingual (contributions are published in Slovenian and English), which has made it accessible to an international audience, where it has acquired relevance. Subscribers to the journal include the libraries of performance studies departments of European and American universities, this has resulted in joint projects, for example a special issue of the magazine published in cooperation with the prominent magazine Performance Research (Routledge). The journal is double-blind peer-reviewed in order to maintain the highest standards of scholastic integrity.
In 2013, Maska acquired an international co-publisher, Intellect Ltd., this partnerhsip will secure global distribution from 2013 to 2018. Numerous contributions of domestic and foreign authors first published in Maska have been reprinted in several foreign magazines, conference proceedings and monographs. Maska is annually presented at national and international theatre festivals and in major international centres of contemporary arts: at Les Laboratoires d’Aubervilliers in Paris, at Tanzquartier in Vienna, at the PSi conferences in Utrecht and Zagreb and at numerous events (co)organised by the Maska Institute in Slovenia and abroad. Maska has hosted a variety of editors, internationally acknowledged and prominent experts (Martina Ruhsam, Beti Zerovc, Bojana Kunst, Eda Cufer, Aldo Milohnic, Ana Vujanovic, Bojana Cvejic, Marina Grzinic Mauhler), and has thus brought to the domestic scene fundamental considerations on topics from the field of reflections on the body, spectatorship and the visual, Brecht’s gestus, feminist approaches in performance studies, subversive affirmation, open work and participatory performance formats, new European drama, memory, dance and its histories, domestic theatre production, biotechnology, philosophy and gender.


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