Maria João Guardão

<img data-lazy-fallback="1" alt='Maria João Guardão' src='https://secure.gravatar.com/avatar/f12006b8394d8c4f556790d94bec9018?s=170&r=g&default=https%3A%2F%2Fthetheatretimes.com%2Fwp-content%2Fplugins%2Fwp-first-letter-avatar%2Fimages%2Fdefault%2F256%2Flatin_m.png' class='avatar avatar-170 photo wpfla ' width='170' height='170' />

author

Contemporary Performing Arts in Portugal: Other Sources of Financial Support

Posted by Maria João Guardão | 22nd Jul 2018 | Essay, Portugal

Aside from public funding, the main funder of contemporary performing arts in Portugal is the...

Read More

Recent Trends In The Portuguese Performing Arts Scene

Posted by Maria João Guardão | 21st Jul 2018 | Essay, Portugal

A recent publication on Portuguese theatre summons up politics, experimentalism, and utopia as...

Read More

Contemporary Performing Arts In Portugal: Local Government Funding

Posted by Maria João Guardão | 17th Jul 2018 | Essay, Portugal

Following European trends and funding, there’s been a move towards state and local governments...

Read More

Contemporary Performing Arts In Portugal: An Overview Pt. 2

Posted by Maria João Guardão | 14th Jul 2018 | Essay, Participatory Theatre, Portugal

This is Part 2 of a 2 part article. Read Part 1 here. The contemporary performing arts scene As...

Read More

Contemporary Performing Arts In Portugal: An Overview Pt. 1

Posted by Maria João Guardão | 7th Jul 2018 | Essay, Portugal

The last IETM plenary meeting in Portugal took place in Lisbon in 1998, with the city at the...

Read More

Like Us On Facebook

Facebook Pagelike Widget

Most Popular Posts

A Director Needs “to Practice What They… by Ivanka Apostolova Baskar 31st July 2022
Barcelona Art Scene: “Next to Normal Immersive” at… by Alexander Fatouros 13th July 2022
Divas Are Forever: Marina Abramović’s “7… by Marisa C. Hayes 20th September 2021
An Interview with Prof. Ana Stojanoska—Theater… by Ivanka Apostolova Baskar 26th July 2022
A Manifesto for the Future Stage: Performance Is a… by Future Stage Research Group At MetaLAB At Harvard 20th November 2021
Unmanly Griefs: Robert Icke’s “Hamlet” by Jonathan Kalb 19th July 2022
The Musical “Notre Dame de Paris”… by Lisa Monde 27th July 2022
The Troubled State of Performing Arts in Hong Kong by Molly Grogan 10th July 2022
“The Last Trial” Musical: There Once Was… by Tanya Vasylkevych 3rd October 2021
Int’l Istanbul Opera Festival to Start in July… by Daily Sabah 14th July 2022

Recent Posts

”Seven Women in Search of Mia” or ”Breast Cancer Trilogy” (A Postproduction Reflection) 1st August 2022
A Director Needs “to Practice What They Preach”: An Interview with Milosh Andonovski, Theatre Director and Educator 31st July 2022
“Murat IV” Opera to tell Ottoman Sultan’s Story in Istanbul 30th July 2022
With “The Tenant of Wildfell Hall” at The Sydney Theatre Company Gives Us a Brontë Adaptation for Our Moment 29th July 2022
Girish Karnad Speaks to Arshia Sattar and Anmol Tickoo just a Few Days Before His Death 28th July 2022
The Musical “Notre Dame de Paris” Returns to the United States 27th July 2022
An Interview with Prof. Ana Stojanoska—Theater Scholar, Writer, and Poet 26th July 2022
In Finucane & Smith’s “Future. Joy. Club.” the Joy is Much More Than the Sum of Its Parts 25th July 2022
“The Fellowship,” Hampstead Theatre 24th July 2022
The Death of Madam Dupin: Is the Balkan the Sub-Saharan Africa of Europe? 23rd July 2022

SEARCH OUR ARCHIVES

Pin It on Pinterest