The editors of this issue asked three preeminent scholars of early modern performance to weigh in on new directions in the field. Some of our questions were theoretical: What does it mean to study premodern performance apart from drama? In what ways might a focus on long-vanished performative bodies advance our understanding of drama, literature, and intellectual history? Other questions concerned praxis. We invited them to consider shifts in their own work alongside wider trends to raise questions about performance outside of the traditional confines of the theater. What counts as evidence in the seeming absence of evidence? How do the texts of performance beyond drama function, and relatedly, why should they interest students of premodernity? Given the brevity of these forum pieces, we did not seek answers to these questions so much as generative provocations, inquiries, and considerations that can help us anticipate the future of performance beyond drama....

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