Indeed, the “contextual analysis of the theatrical performance” (De Marinis) was the focal point of research resulting in the published contributions which differ both in the approach to topic as well as its methodology. They range from a comprehensive reviews of the theatre audience (Aleš Gabrič: The Societal and Social Role of Slovenian Theatre Activity during the 20th Century), the stage speech (Katarina Podbevšek: Changes in the Aesthetics of Stage Speech in Slovenia during the 20th Century) or contemporary dance (Bojana Kunst: Movement and Choreographic Concepts in Slovenian Contemporary Dance), through fundamental insight into a partial field or semantic category, such as theatre direction (Blaž Lukan: The Europeization of Slovenian Theatre: The Birth of Modern Theatre Directing), the staging of ancient drama (Barbara Sušec Michieli: Difficulties with Classics and History: Ancient Greek Tragedy in the 20th century Slovenian theatre), constructivism in the Slovenian theatre (Martina Vovk: Trieste Constructivism and Theatre. Draft stage sets, character studies and stage set conceptualization by Avgust Černigoj and Eduard Stepančič), drama (Denis Poniž: Prolegomenon to the Research on the Role and Significance of Slovenian Drama and Theatre at the Time of the Transition from the Totalitarian to the Democratic System during the Period 1960-1990) and performance (Barbara Orel: To the History of Performance Art in Slovenia: Experimental theatre practices 1966-1986) to the case study (Maja Šorli: Tomaž Pandur’s Legacy on SNG Maribor). The book also includes the first publication of the notes by the choreographer and dancer Ksenija Hribar entitled The Dance Lesson at Cankarjev Dom as well as extensive photo material and abstracts of texts in Slovene and English.