Daniel Meyer-Dinkgräfe

subscriber

d.meyer-dinkgrafe@thetheatretimes.com

Daniel Meyer-Dinkgräfe was Lecturer and Senior Lecturer in Drama (University of Wales Aberystwyth, 1994-2007) and Professor of Drama at the University of Lincoln (2007-2017). He expanded his creative profile with a novel (2017), and as an audio book narrator (2018). Since August 2019 he has served as artistic director of piccolo teatro Haventheater in Bremerhaven, Germany and has been writing opera reviews for "Seen and Heard International" since early 2024. He is the author of Daniel Meyer-Dinkgräfe, "Boulevard Comedy Theatre in Germany," Newcastle: Cambridge Scholars Press, 2005.

Mark St Germain’s “Dancing Lessons” At Boulevard Münster In The Context Of The Ongoing Comedy Theatre Tradition In Germany

Posted by Daniel Meyer-Dinkgräfe | 28th Jul 2025 | Germany, Management, Review

Germany’s theatre landscape is very rich indeed. Many cities have publicly owned and funded...

Read More

1
2

Like Us On Facebook

Facebook Pagelike Widget

Awards

Most Popular Posts

Waking Up in the Spotlight with “The Unusual… by Alexander Fatouros 24th March 2026
Tim Crouch’s “The Tempest” at The Globe by Duška Radosavljević 1st April 2026
“The Devil Wears Prada” and Other… by Lisa Monde 8th February 2026
“Figures In Extinction:” A Dance Trilogy Report by Maria Wojtan, Magdalena Borowska, Natalia Rutkowska, Barbara Herbasz 17th March 2026
From Shakespeare To Contemporary Montenegrin… by Ivanka Apostolova Baskar 25th March 2026
David Yazbek: The Master of Adapting Films into… by Lisa Monde 2nd April 2026
New York City Fringe Begins April 1 by Marcina Zaccaria 25th March 2026
Poetry: The Realm Where Unrealized Ambitions Find… by Ivanka Apostolova Baskar 19th March 2026
The 2026 International Ibsen Award: A Reflection On… by International Ibsen Award Committee 2026 27th March 2026
Marketing, Sales And Production Are Crucial For The… by Ivanka Apostolova Baskar 16th March 2026

Recent Posts

GPS M S Biomechanics System Vs. Narcissism: “Shouting, Making Faces, And Being Crazy Is NOT Enough To Be A Clown” 8th April 2026
Christopher Hampton’s “Les Liaisons Dangereuses” at The National Theatre: Busy Highly Stylized Revival Is All Spectacle And No Emotion 8th April 2026
Memories Of And Acting In Old Age Are Central To “Ein Deutsches Leben” 8th April 2026
Lyle Kessler Receives Lifetime Achievement Award In Playwriting 7th April 2026
Everything In Programming Matters To Cultivate The Spectator`S Free Will 7th April 2026
David Yazbek: The Master of Adapting Films into Musicals. An Exclusive Interview 2nd April 2026
The Auto-fictional Mode As A Variation Of Biographical Material In The Theatre 1st April 2026
Tim Crouch’s “The Tempest” at The Globe 1st April 2026
On Fire: Luciana Acuña’s “Bailarinas Incendiadas” (Dancers in Flames) 29th March 2026
The 2026 International Ibsen Award: A Reflection On The Winner By The Committee 27th March 2026

SEARCH OUR ARCHIVES

Pin It on Pinterest