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Boris Yukhananov – the Artistic Director of the Stanislavsky Electrotheatre, Moscow – discusses how the COVID-19 pandemic has affected the theatre community in Russia and the Stanislavsky Electrotheatre. He also shares his thoughts on the post-pandemic theatre.

Grzegorz Jarzyna – the head and artistic director of TR Warszawa (Poland)– responds to Boris Yukhananov and discusses how the COVID-19 pandemic has affected his work, TR Warszawa, and the theatre community in Poland. He also reflects on what may the future of theatre look like.

William Kentridge – a South African interdisciplinary artist and the founder of The Centre for the Less Good Idea – responds to Grzegorz Jarzyna and discusses how the COVID-19 pandemic has affected his work, The Centre, creative process, and the theatre community in Johannesburg.

Tianjiao Li and Xuexi Li from Quirky Moth Theatre – China’s leading theatre company – respond to William Kentridge. The discussion focuses on the impact that the COVID-19 pandemic had on China’s theatre and its communities from the perspective of a theatre maker and spectator. They also explain why they think theatre will survive the pandemic.

Nils Haarmann – dramaturg at the Schaubühne – respond to Grzegorz Jarzyna. The discussion focuses on how Schaubühne responded to the COVID-19 pandemic and the impact it had on its immediate and further plans, and on German theatre institutions and communities.

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Visit Performap.com - an Interactive Digital Map of Global Theatre and Performance Festivals developed by TheTheatreTimes.com. With hundreds of festivals browsable and searchable by festival location, type, and date, Performap is the first extensive digital index of its kind in the field, built expressly for artists, audiences, critics, scholars, festival organizers, curators, and presenters from around the world.

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Interview: Em Weinstein Discusses “SOLDIERGIRLS”

For theater, I like to give myself constraints. So for this, the constraint was that I wanted to write this for two people, partially because I love 2-person plays. There aren't enough of them, and also, they’re so much more producible, and it’s amazing to watch two people pull something off, so I gave myself that challenge. It sort of opened up the door for me in terms of what the piece was going to be like stylistically - I wanted it to be a bunch of different genres and I wanted it to be ironic and funny and also heartfelt at the same time. That was all sort of outside-in thinking about this piece which isn't always how it is, but helped me get into it. The more I worked on it, the more I have fallen in love with the characters and their story, but it frankly came about by thinking about the structure itself, and what I wanted to play to feel like and how I wanted it to be formed versus what it was actually going to be - form then content rather than the other way around.

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Interview: Em Weinstein Discusses “SOLDIERGIRLS”

For theater, I like to give myself constraints. So for this, the constraint was that I wanted to write this for two people, partially because I love 2-person plays. There aren’t enough of them, and also, they’re so much more producible, and it’s amazing to watch two people pull something off, so I gave myself that challenge. It sort of opened up the door for me in terms of what the piece was going to be like stylistically – I wanted it to be a bunch of different genres and I wanted it to be ironic and funny and also heartfelt at the same time. That was all sort of outside-in thinking about this piece which isn’t always how it is, but helped me get into it. The more I worked on it, the more I have fallen in love with the characters and their story, but it frankly came about by thinking about the structure itself, and what I wanted to play to feel like and how I wanted it to be formed versus what it was actually going to be – form then content rather than the other way around.

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