Pressure–state–response environmental indicators are proposed for New Zealand fish stocks. This workwas a technical background to the development of a core set of indicators sought by the Ministry for the Environment. It has led, through an extensive programme of consultation, to a set of confirmed indicators. The initial proposals and their basis are described together with their relationship to the confirmed indicators. The proposed indicators could readily be calculated as part of the stock assessments conducted annually by the Ministry of Fisheries and this is recommended. For many stocks, especially minor stocks, only proxies for the preferred indicators would be possible. The proxy indicators would not be useful in all cases, and target or threshold values for them could generally not be calculated. Shortcomings and difficulties in the proposed indicators are described. A state indicator that separates changes induced by fishing from those of a natural origin is described, but it could be obtained for only a few stocks.

This special issue introduction contextualizes the role of arts and culture in articulating the social agendas of urban mega-events like Olympic Games and World Expos, and also individual contributors’ approaches to this topic.

Bertolt Brecht’s silent Kattrin in Mother Courage, or the disability performance lessons of his Peachum in The Threepenny Opera; Tennessee Williams’ limping Laura Wingfield in The Glass Menagerie and hard-of-hearing Bodey in A Lovely Sunday for Creve Coeur; Samuel Beckett’s blind Hamm and his physically disabled parents Nagg and Nell in Endgame – these and many further examples attest to disability’s critical place in modern drama. This Companion explores how disability performance studies and theatre practice provoke new debate about the place of disability in these works. The book traces the local and international processes and tensions at play in disability theatre, and offers a critical investigation of the challenges its aesthetics pose to mainstream and traditional practice. The book’s first part surveys disability theatre’s primary principles, critical terms, internal debates and key challenges to theatre practice. Examining specific disability theatre productions of modern drama, it also suggests how disability has been re-envisaged and embodied on stage. In the book’s second part, leading disability studies scholars and disability theatre practitioners analyse and creatively re-imagine modern drama, demonstrating how disability aesthetics press practitioners and scholars to rethink these works in generative, valuable and timely ways.

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