
- Africa
- Asia
- Europe
- North America
- Oceania
“Without Damage” Gets A Ground-Breaking Debut At Egypt’s D-CAF
by Daily News Egypt | Apr 17, 2018 | Egypt, Immersive Theatre, Theatre and Dance, Review
People may or may not be familiar with contemporary art, but it involves no damage to the audience...
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Make Way For Egypt’s Independent Contemporary Performing Arts
by Ati Metwaly | Mar 30, 2018 | Egypt, Essay
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World Theatre Day: To “Become” Differently
by Marié-Heleen Coetzee | Mar 28, 2018 | Latest, South Africa, Essay
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Disability And The Arts To Be Discussed Within D-CAF
by Ahram Online | Mar 23, 2018 | Egypt, United Kingdom, Festivals, Theatre and Disability, News
“Mr. Half Dwells…” Journeys Through the “Normal” City of Hong Kong in the Most Abnormal Theatrical Display
by Clement Lee | Apr 21, 2018 | Hong Kong, Design, Review
It is always an excitement to anticipate a show if one sees the name Ming-hang...
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“Ballyturk” Delivers A Surreal Yet Exciting Challenge
by Nobuko Tanaka | Apr 19, 2018 | Japan, Ireland, Translation, Interview
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Chinese Vagina Monologues And Beyond
by Ling Tang | Apr 19, 2018 | China, London, Theatre and Gender, Review
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Reinventing Shakespeare In Chinese And Sinophone Theatres
by Alexa Alice Joubin | Apr 18, 2018 | China, Hong Kong, Taiwan, Essay
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Experimentalism, Politics, And Utopia: Portuguese Theatre At The Beginning Of The 20th Century And On The Threshold Of The New Millennium
by Rui Pina Coelho | Apr 21, 2018 | Portugal, Theatre and Politics, Essay
This article was originally published as ‘Introduction’ to the edited collection...
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Alexei Malobrodsky: The Strong Link
by Zhanna Zaretskaya | Apr 20, 2018 | Russian Theatre - Featured, Russia, Theatre and Politics, Essay
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“Ballyturk” Delivers A Surreal Yet Exciting Challenge
by Nobuko Tanaka | Apr 19, 2018 | Japan, Ireland, Translation, Interview
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Chinese Vagina Monologues And Beyond
by Ling Tang | Apr 19, 2018 | China, London, Theatre and Gender, Review
Labour Politics In Audrey Dwyer’s “Calpurnia” Problematize Allyship
by Hayley Malouin | Apr 17, 2018 | Canada, Theatre and Politics, Review
Shelley Liebembuk reviews Calpurnia, a co-production between Nightwood Theatre and Sulong Theatre...
“Dark Dunedin: Heaven Looks On” Excavating Layers Of The Real And The Imagined
by Hilary Halba | Apr 14, 2018 | New Zealand, Festivals, Immersive Theatre, Transmedia, Review
An audience assembles on the grassy margins of Prospect Park in Ōtepoti/Dunedin, New Zealand, on a...
Towards The Polski Theatre In The Underground
by Piotr Rudzki (University of Wrocław) | Mar 27, 2018 | Poland, Acting, Applied Theatre, Theatre and Politics, Essay
Protests against the new manager During the decade 2006–2016 the Polski Theatre in Wrocław became...
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World Theatre Day: How Theatre Is A Means To Educate
by Parshathy J. Nath | Mar 26, 2018 | India, Applied Theatre, Essay
Secret Cinema’s Most Recent Production: A Recreated World Of Ridley Scott’s Classic Film “Blade Runner: The Final Cut”
by Beatriz Cabur | Apr 20, 2018 | United Kingdom, London, Immersive Theatre, Transmedia, Review
Creating large-scale cultural experiences in abandoned spaces, Secret Cinema fuses film, music,...
Dance As A Language, Exhaustion As A Therapy
by Jean-Baptiste Joly | Mar 12, 2018 | Chad, Devised Theatre, Theatre and Dance, Interview
… when no one is willing to listen, no one you could tell, no one you could talk it over with to...
- Acting
- Directing
- Dramaturgy
- Design
- Management
- Playwriting
“The Birthday Party”- A Classic That Never Grows Old
by María Agustina Pardini | Mar 28, 2018 | United Kingdom, London, Acting, Review
Toby Jones, Zoë Wanamaker, Stephen Mangan, Tom Vaughan-Lawlor, Peter Wight, and Pearl Mackie make...
The Jewish Theatre In Warsaw: Tradition With A Modern Attitude
by Piotr Rudzki (University of Wrocław) | Mar 27, 2018 | Poland, Directing, Theatre and Politics, Essay
The Jewish Theatre in Warsaw is one of only two public theatres in Europe that regularly stage...
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“A Doll’s House” Premieres On Istanbul Stage
by Anadolu Agency | Mar 26, 2018 | Turkey, Directing, Interview
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Jacek Głomb Named Polish “Theatre Person 2018”
by Kasia Lech | Mar 1, 2018 | Poland, Directing, Theatre and Politics, News
“Anæsthesia Transopera” – Interactive Transmedia Opera
by Michał Krawczak | Mar 25, 2018 | Poland, Dramaturgy, Theatre and Opera, Transmedia, News
In 2016 the art & science collective Dæd Baitz (Agnieszka Jelewska, Michał Krawczak, Paweł...
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The Importance Of Documenting And Archiving The Performing Arts
by Chloe Chotrani | Feb 21, 2018 | Asia, Dramaturgy, Interview
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“Mr. Half Dwells…” Journeys Through the “Normal” City of Hong Kong in the Most Abnormal Theatrical Display
by Clement Lee | Apr 21, 2018 | Hong Kong, Design, Review
It is always an excitement to anticipate a show if one sees the name Ming-hang...
Going Places Interview With Lauren Clancy, The New Executive Director of The Bush Theatre
by Helen Rynne | Mar 14, 2018 | United Kingdom, London, Management, Interview
Lauren Clancy, the new Executive Director of the Bush Theatre, talks to us about her first few...
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Change Is In The Air For New National Theater Tokyo In 2018
by Nobuko Tanaka | Feb 19, 2018 | Japan, Management, News
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Dramatist Oriza Hirata Has A Vision For Theatre
by Nobuko Tanaka | Jan 24, 2018 | Japan, Management, Interview
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Managing The Floating Theatre in Denmark: Reality Always Wins
by Pelle Nordhøj Kann | Jan 23, 2018 | Denmark, Management, Essay
“The Delightful Journey Of Mr. Goldoni”: A National Premiere In Pavia
by Maria Pia Pagani | Apr 6, 2018 | Italy, Festivals, Playwriting, News
Since 2007, the year of the 300th anniversary of the birth of Carlo Goldoni (1707–1793), Ghislieri...
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Contemporary “Electra” by DumbWise at The Bunker Theatre
by Aleks Sierz | Mar 13, 2018 | United Kingdom, London, Adaptation, Playwriting, Review
“Miss You Like Hell”: New York Premiere Musical
by Brandon Webster | Apr 14, 2018 | United States of America, New York, Musical Theatre, Review
There’s no curtain to create the traditional pomp and circumstance of American theatre. The stage...
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Dramatic Soundscapes
by Vikram Phukan | Apr 10, 2018 | India, Immersive Theatre, Musical Theatre, Theatre and Dance, Theatre and Disability, Essay
“Without Damage” Gets A Ground-Breaking Debut At Egypt’s D-CAF
by Daily News Egypt | Apr 17, 2018 | Egypt, Immersive Theatre, Theatre and Dance, Review
People may or may not be familiar with contemporary art, but it involves no damage to the audience...
Boheme and Beer: an Unconventional Production by Boston Opera Collaborative
by Kristin Tomecek | Apr 15, 2018 | Boston, Theatre and Opera, Review
Audiences found themselves amidst fermentation vessels and set dressings alike this past Thursday...
- Theatre and Gender
- Theatre and Disability
- Theatre and Age
- LGBTQ Theatre
Chinese Vagina Monologues And Beyond
by Ling Tang | Apr 19, 2018 | China, London, Theatre and Gender, Review
On March 20 2018, VaChina, a London-based Chinese feminist network, staged its first full drama...
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What It’s Like To Be A Female Fight Director
by Kate Youde | Apr 12, 2018 | United Kingdom, Theatre and Gender, Interview, Stage Combat
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Women Flying High In Circus
by Poppy Burton-Morgan | Mar 31, 2018 | United Kingdom, Theatre and Gender, News
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Towards Cultural Access And Participation In Portugal
by Maria Vlachou | Apr 13, 2018 | Portugal, Theatre and Disability, Essay
You can also read this article in French. IETM will host its forthcoming Plenary meeting in Porto,...
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Dramatic Soundscapes
by Vikram Phukan | Apr 10, 2018 | India, Immersive Theatre, Musical Theatre, Theatre and Dance, Theatre and Disability, Essay
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Disability And The Arts To Be Discussed Within D-CAF
by Ahram Online | Mar 23, 2018 | Egypt, United Kingdom, Festivals, Theatre and Disability, News
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Why I Can’t Accept “Amy And The Orphans”
by Madison Parrotta | Mar 23, 2018 | New York, Theatre and Disability, Review
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Mind The Gap: Theatre Group For The Over 60s Helps Salisbury Playhouse Cater For All
by Lucy Rouse | Mar 4, 2018 | United Kingdom, Acting, Theatre and Age, News
One of the things Salisbury Playhouse tries to do is provide opportunities for everyone in the...
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The Art Of Ageing Theatre Project
by Valerie Barnes Lipscomb | Feb 17, 2018 | Europe, Theatre and Age, Transcultural Collaborations, News
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Spanning Centuries: PTP’s “Arcadia”
by Jack Wernick | Jul 31, 2017 | United States of America, New York, Theatre and Age
“Vincent River” at The Park Theatre: In-yer-Face Theatre at Its Cruel Best
by Aleks Sierz | Apr 10, 2018 | United Kingdom, London, LGBTQ Theatre, Review
Every great playwright has to have both an identifiable style and the ability to innovate and...
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A Place To Be Seen: Global Queer Plays At The Arcola Theatre
by William Gregory | Mar 24, 2018 | London, Festivals, LGBTQ Theatre, Translation, News
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The Theatre Form, Yakshagana, Involves A...

Towards An Inclusive Stage…

“Dark Dunedin: Heaven Looks OnR...

“The Delightful Journey Of Mr. Gol...

Moveable Cultural Feast

Pathos Of The Oppressed

Six Must-Watch Plays At The Theatre Olym...

Ten Years Of The Divine Comedy Festival ...

World’s Largest Theatre Fest Comes To Mu...

A Place To Be Seen: Global Queer Plays A...

Disability And The Arts To Be Discussed ...

Opera Forward Festival: Amsterdam, March...

Confronting The Limits: Konfrontacje Fes...

Interpreting The Epics

“Memorial” Is A Shattering E...

Unfulfilled Dreams, Stunning Portraits

How Can We Transform The World Through O...

Theatre Series “Tale Of The Centur...

Life Isn’t a Beach in “Einstein in the C...

Chiaki Soma puts on a Not-So-Common Thea...

Celebrating Oceanic Voyaging In Spectacu...

7th Edition Of Egypt’s 2B Continue...

Countdown To Lagos Theatre Festival 2018...

Liberty, Equality, And Feminism: “...

TPAM’s Magic Happens In Front Of And Beh...

Krystian Lupa’s “The Trial...

The Focus Is On The Power Of Those On Th...

“To The Depths,” Together: A...

The Complexities of Consent

“Hymn To Love” At Divine Com...

“The Rage” at Divine Comedy ...

“Iyov” Premieres At The Prot...

“Mandelshtam-Fest” – Theatre and Poetry ...

Sin Muros: Interview With “Living ...

“Between The Lines” (Entreli...

Sin Muros: Interview With “Purple ...

Border Force: The Scottish Arts Festival...

The “Very Last Wedding” At T...

Sin Muros: Creating a Space for Latinx T...

“Fellow Travelers”: A Protot...

Sin Muros: Interview with “Neighbors” Pl...

The Innocent Joys Of Theatre: Tifli-Inte...

Japan’s Theater World Increasingly Shed ...

Verdi’s “A Masked Ball” R...

Are You Ready to ReOrient? Festival Over...

“Human Landscapes–The Migration Of...

Israeli Theatre Exposure: A Showcase In ...

Review: Circadia Indigena’s “Greed...

Tisa Ho, The Maestro Behind The Hong Kon...

Interpreting “The Mahabharata̶...

Diversity – YES, But How?

Ramlila at Prithvi Theatre: Rambunctious...

James Graham’s “Quiz” With A...

Boston Opera Collaborative’s “Opera Bite...

Encountering Indonesia At AsiaTOPA (Part...

Encountering Indonesia At AsiaTOPA 2017 ...

For The Love Of The Game: “Peh LO ...

Tale Of A Wounded Soul

Still Raging After 25 Years: The Anniver...

Dana Michel’s “Mercurial Geo...

Politics, Human Rights And Social Activi...

Big Bang: “Germinal” Creates...

A Journey for Lost Truth: Won Muintel

Why All The World’s A Stage For A Classi...

A Report On Iran’s Traditional And Ritua...

Francis Poulenc’s “Midnight ...

Celebrating The 40th Anniversary Of Gard...

What Is The Current State Of Slovak Thea...

Festival/Tokyo Director Sachio Ichimura ...

“A Feminine Edition”: Women&...

Fresh Takes On Fresh Meat, Part 1

Abu Dhabi Festival: An Investment In Cul...

Vietnam Is A Lullaby Of Dissolution In &...

Cynical Messages As Well As Positive Val...

Future Shock At The Philadelphia Fringe ...

A Look Into Madrid’s 35th Festival...

Botho Pan African Arts Festival 2017

Sydney Festival Review: Beckett’s “...

Arab Arts Focus At Edinburgh Festival Sh...

A Step Forward: A Look Into The 2017 Cai...

Supertitles Galore At The 2017 Avignon F...

On Liberation And Progression – ...

Classic Scripts, New Writing, And Divers...

Nudity, Art and Political Violence in Br...

The Politics of Being Unaided: Act Alone...

Analog Virtual Reality Worlds of SIGNA P...

Stratford’s “Breathing Hole”...

Egypt’s National Theatre Festival ...

Edmonton Fringe: Political and Physical

The 25th Edition of the Varna Summer Int...

SummerWorks Round-Up: Cassandra Silver R...

Edinburgh Fringe 2017: The Comedy Shows ...

Avignon Part 9: “Kalakuta Republik...

Avignon Part 8: “Grensgeval (Borde...

Avignon Part 7: Ibsen Reinvented –...

Avignon Part 6: Frank Castorf’s “D...

Avignon: Symphonies of Pain Part 5 ̵...

Avignon: Symphonies of Pain Part 4 ̵...

Avignon: Symphonies of Pain Part 3 ̵...

Avignon: Symphonies of Pain Part 2 ̵...

“Fiddler On The Roof” at The...

Avignon: Symphonies of Pain Part I ̵...

Satoshi Miyagi Makes History on a Stage ...

From Elvis to Cobain, “The Sound o...

Are Festivals Public Art Institutions?

“Returning to Reims” at Manc...

‘Gwyl’ – Two Theatre F...

Review: Ensemble Studio Theatre 1-Act Ma...

Berlin Turkish Theater Festival Kicks Of...

Celebrating Theatre: Polish Festivals 20...

“WAGAS!” or Virgin Labfest 1...

Contemporary Estonian Drama

An Interview with Dorothea Marcus and Ti...

All Shizuoka’s a Stage for SPAC’s Theate...

Theatre Without Borders: Dharamshala Res...

The Festival Internationale Neue Dramati...

The Many Festivals in the Festival of Cu...

In Search for a European Identity: Wiesb...

Political Origins of the Edinburgh Inter...

SANCTA Let’s Community Theatre Thrive in...

Lagos Theatre Festival 2017: A Palatable...

“Street Plays” at the Intern...

Nowy Teatr’s “Generation After” Showcase...

Mala Inventura Festival: Small Inventory...

So You Want to Go to the Edinburgh Festi...

Bodyscaping Landscapes and Perceptions: ...

MITsp 2017 – To Provoke Theatre, Politic...

Festival of Original Theatre in Toronto ...

Deutsches Theater’s “Waiting for G...

Lagos Theatre Festival: Kick-off Symposi...

From Strings to Shadows: The 15th Ishara...

Enthralling Spectrum of Visual and Aural...

Inside Preparations for the New York Che...

British Council Announces Lagos Theatre ...

The Festival de Artes Escénicas to Enter...

Iran’s 35th Fadjr International Theatre ...

A Report From the 2016 Divine Comedy Fes...

OzAsia Festival Brings A Global Perspect...

Remembering Veenapani Theatre Festival F...

More Than 31,000 People Enjoy the Magic ...

“NIMBY” From Chilean-French ...

Boska Komedia: Krakow’s Divine Com...

Streaming Opera and Media: “Second...

The 5th Edition of the High Season Festi...

The Rough House Theater’s “U...

Lars von Trier’s “Breaking the Wav...

The Fourth International Theatre Festiva...

The Vrystaat Kunstefees: Developing Crea...

Swedstage: A Showcase of Swedish Theatre

Actor Om Puri Will Introduce Bahuroopi N...

On Festivals: Curatorial Thought in Proc...

Dziady Recycling Festival Explores Memor...

The NCPA’s Centrestage Festival in Mumba...

Egyptian Play “Paranoia” Par...

Disabled Artists: Rio’s Paralympic...

Kyoto Experiment Autumn 2016

Theatre During Rio’s Olympic Games...

The 2016 Seoul Performing Arts Festival ...

The Lagos Theatre Festival 2017 Fringe I...

“Ya Sem”: An Egyptian Femini...

The Vrystaat Kunstefees: Developing Crea...

Chinese “Thunderstorm” Bring...

The OzAsia Festival Is Young And Confide...

The 23rd Cairo International Festival fo...

Rwanda’s “Radio Play” ...

“Moliere” by Polish Troupe T...

The Avignon Festival Chronicles Part II

Unlimited Festival: Making an Impact in ...

Music and Performance at the Vittoriale:...

Olivier Kemeid’s “The Aeneid...

The 16th Mobarak International Puppet Th...

South African Artist William Kentridge a...

Bucharest International Theater Platform...

South African Arts Festivals Today

The Avignon Festival Chronicles Part I

Angelica Liddell Returns to Avignon for ...

The Contexts Festival of Ephemeral Art

The Malta Festival, 2015

British Council Invites Artists to be Pa...

Edinburgh Festivals: How They Became the...

CATCH Rounds Up Avant-Garde Performers

“Hearing” Iranian Play, perf...

‘Uitkampteater’ Creates Spac...

Dmitry Krymov’s “The Square ...

International Festival of Ancient Greek ...

Moussem Cities Festival Reflects on Auto...

Defying Tradition: 32 Rue Vandenbranden ...

Interview: Mikhail Reznikovich, An Artis...

International Chekhov Theater Festival O...

Spectacle and Tradition at the 2014 Linc...

Teatr Chorea’s Retro//Per//Spectives Fes...

Teatr Chorea’s Retro//Per//Spectives Fes...

Teatr Chorea’s Retro//Per//Spectiv...

Sailing Theater To Embark On Odyssey Aro...

Connecting Shakespearean “Roman Tr...

The Experimental “Cadavre Exquis...

“Black Diggers” Memorializes...

Intercultural Exchanges In “Chi Ud...

Cocteau’s “La Voix Humaine...

Main Program Of Golden Mask Performing A...

A Big Theatrical Legacy Brought To Life ...

The 16th Shakespeare Festival in Gdańsk
- Adaptation
- Translation
- Transmedia
- Transcultural Collaborations
Thou Art Translated! How Shakespeare Went Viral
by Alexa Alice Joubin | Apr 18, 2018 | Worldwide, Adaptation, Translation, Essay
In A Midsummer Night’s Dream, when Peter Quince sees Bottom turned into an ass-headed figure, he...
“Ballyturk” Delivers A Surreal Yet Exciting Challenge
by Nobuko Tanaka | Apr 19, 2018 | Japan, Ireland, Translation, Interview
When Akira Shirai first read the script for Ballyturk, he quickly understood why its creator,...
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Thou Art Translated! How Shakespeare Went Viral
by Alexa Alice Joubin | Apr 18, 2018 | Worldwide, Adaptation, Translation, Essay
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A Place To Be Seen: Global Queer Plays At The Arcola Theatre
by William Gregory | Mar 24, 2018 | London, Festivals, LGBTQ Theatre, Translation, News
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Secret Cinema’s Most Recent Production: A Recreated World Of Ridley Scott’s Classic Film “Blade Runner: The Final Cut”
by Beatriz Cabur | Apr 20, 2018 | United Kingdom, London, Immersive Theatre, Transmedia, Review
Creating large-scale cultural experiences in abandoned spaces, Secret Cinema fuses film, music,...
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Musical Futures: Japanese Vocaloid Opera Arrives In Spain
by Mara Valderrama | Mar 29, 2018 | Japan, Spain, Theatre and Opera, Transmedia
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“Anæsthesia Transopera” – Interactive Transmedia Opera
by Michał Krawczak | Mar 25, 2018 | Poland, Dramaturgy, Theatre and Opera, Transmedia, News
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“Post-Apocalypsis”: The Ecology of Performance
by Michał Krawczak | Mar 25, 2018 | Poland, Theatre and Art, Theatre and Science, Transmedia, Essay
Force And Fragility Meet And Merge In “Dunas”
by Nobuko Tanaka | Apr 4, 2018 | Japan, Belgium, Theatre and Dance, Transcultural Collaborations, Interview
There are mutual squeals of delight when Belgian dance artist, Sidi Larbi Cherkaoui and Spanish...
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