Elena Backhausen is a research assistant at the Institute of Film, Theatre, Media, and Cultural Studies at the Johannes Gutenberg University of Mainz.Benjamin Wihstutz is an Assistant Professor (Junorprofessor) of Theatre and Performance Studies at the University of Mainz, Germany. He is principal investigator within the Collaborative Research Centre (CRC 1482) "Humandifferenzierung" with a project on disability performance history, funded by the German Research Association.Noa Winter is a curator and dramaturg with a focus on disability arts and anti-ableism, based in Berlin, Germany.

• AcknowledgementsContributors BioIntroductionPart I: Crip Time in Pandemic Time Chapter 1. Our Bodies Are the Archive: Crip Time in Pandemic Time and the Materiality of Disability PerformanceCarrie SandahlChapter 2. Disability Culture in a Time of PandemicJess ThomChapter 3. On imperfect flow: dis/ability performance in times of pandemicBenjamin WihstutzChapter 4. Crip TimePetra Kuppers Part II: Dramaturgies of Crip TimeChapter 5. Dance, Disability and Keeping ‘In Time’ on StrictlySarah WhatleyChapter 6. Off-beat bodies. Crip Choreography’s Temporal PoliticalityMichael Turinsky Chapter 7. Imposed Tactlessness. Cursory Considerations on the Beyond of Normative TimeSandra Umathum Chapter 8. Kairos Reconfigured: The Rhetoric of Actors with Intellectual Disabilities Stepping In and Out of Theatrical TimeTony McCaffreyChapter 9. On the temporality of stutteringElena BackhausenChapter 10. Time-Bound Yet Time-Less: Performing Crip Time at Blind Opera and AnyadeshRajdeep KonarChapter 11. I Fall To PiecesKaite O'ReillyPart III: Crip Time and FuturityChapter 12. Future Clinic for Critical Care: MOTHER - Exploring crip maternal time in the theatreNina MühlemannChapter 13. As Stiff Grew Stiffer: Theoretical and Practical Applications of Theatrical Crip Time and Four-Dimensional Dramaturgy John Michael Sefel and Rachael HerrenChapter 14. Crip Time and the Creative Process – Choreography and Performance as Sites for Exploring ‘Normative’ and ‘Crip’ Time and the Disabled Dance-makerKate MarshChapter 15. The Potential and Poetics of RestRaquel Meseguer ZafeIndex

Elena Backhausen is a research assistant at the Institute of Film, Theatre, Media, and Cultural Studies at the Johannes Gutenberg University of Mainz.Benjamin Wihstutz is an Assistant Professor (Junorprofessor) of Theatre and Performance Studies at the University of Mainz, Germany. He is principal investigator within the Collaborative Research Centre (CRC 1482) "Humandifferenzierung" with a project on disability performance history, funded by the German Research Association.Noa Winter is a curator and dramaturg with a focus on disability arts and anti-ableism, based in Berlin, Germany.

• AcknowledgementsContributors BioIntroductionPart I: Crip Time in Pandemic Time Chapter 1. Our Bodies Are the Archive: Crip Time in Pandemic Time and the Materiality of Disability PerformanceCarrie SandahlChapter 2. Disability Culture in a Time of PandemicJess ThomChapter 3. On imperfect flow: dis/ability performance in times of pandemicBenjamin WihstutzChapter 4. Crip TimePetra Kuppers Part II: Dramaturgies of Crip TimeChapter 5. Dance, Disability and Keeping ‘In Time’ on StrictlySarah WhatleyChapter 6. Off-beat bodies. Crip Choreography’s Temporal PoliticalityMichael Turinsky Chapter 7. Imposed Tactlessness. Cursory Considerations on the Beyond of Normative TimeSandra Umathum Chapter 8. Kairos Reconfigured: The Rhetoric of Actors with Intellectual Disabilities Stepping In and Out of Theatrical TimeTony McCaffreyChapter 9. On the temporality of stutteringElena BackhausenChapter 10. Time-Bound Yet Time-Less: Performing Crip Time at Blind Opera and AnyadeshRajdeep KonarChapter 11. I Fall To PiecesKaite O'ReillyPart III: Crip Time and FuturityChapter 12. Future Clinic for Critical Care: MOTHER - Exploring crip maternal time in the theatreNina MühlemannChapter 13. As Stiff Grew Stiffer: Theoretical and Practical Applications of Theatrical Crip Time and Four-Dimensional Dramaturgy John Michael Sefel and Rachael HerrenChapter 14. Crip Time and the Creative Process – Choreography and Performance as Sites for Exploring ‘Normative’ and ‘Crip’ Time and the Disabled Dance-makerKate MarshChapter 15. The Potential and Poetics of RestRaquel Meseguer ZafeIndex

Elena Backhausen is a research assistant at the Institute of Film, Theatre, Media, and Cultural Studies at the Johannes Gutenberg University of Mainz.Benjamin Wihstutz is an Assistant Professor (Junorprofessor) of Theatre and Performance Studies at the University of Mainz, Germany. He is principal investigator within the Collaborative Research Centre (CRC 1482) "Humandifferenzierung" with a project on disability performance history, funded by the German Research Association.Noa Winter is a curator and dramaturg with a focus on disability arts and anti-ableism, based in Berlin, Germany.

• AcknowledgementsContributors BioIntroductionPart I: Crip Time in Pandemic Time Chapter 1. Our Bodies Are the Archive: Crip Time in Pandemic Time and the Materiality of Disability PerformanceCarrie SandahlChapter 2. Disability Culture in a Time of PandemicJess ThomChapter 3. On imperfect flow: dis/ability performance in times of pandemicBenjamin WihstutzChapter 4. Crip TimePetra Kuppers Part II: Dramaturgies of Crip TimeChapter 5. Dance, Disability and Keeping ‘In Time’ on StrictlySarah WhatleyChapter 6. Off-beat bodies. Crip Choreography’s Temporal PoliticalityMichael Turinsky Chapter 7. Imposed Tactlessness. Cursory Considerations on the Beyond of Normative TimeSandra Umathum Chapter 8. Kairos Reconfigured: The Rhetoric of Actors with Intellectual Disabilities Stepping In and Out of Theatrical TimeTony McCaffreyChapter 9. On the temporality of stutteringElena BackhausenChapter 10. Time-Bound Yet Time-Less: Performing Crip Time at Blind Opera and AnyadeshRajdeep KonarChapter 11. I Fall To PiecesKaite O'ReillyPart III: Crip Time and FuturityChapter 12. Future Clinic for Critical Care: MOTHER - Exploring crip maternal time in the theatreNina MühlemannChapter 13. As Stiff Grew Stiffer: Theoretical and Practical Applications of Theatrical Crip Time and Four-Dimensional Dramaturgy John Michael Sefel and Rachael HerrenChapter 14. Crip Time and the Creative Process – Choreography and Performance as Sites for Exploring ‘Normative’ and ‘Crip’ Time and the Disabled Dance-makerKate MarshChapter 15. The Potential and Poetics of RestRaquel Meseguer ZafeIndex