Deborah Augustin

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Parastoo Theatre: Art, Refuge, Action

Posted by Deborah Augustin | 11th Aug 2022 | Afghanistan, Applied Theatre, Interview, Malaysia, Theatre and Politics

The pioneering theatre company, founded and run by Afghan theatre maker and refugee, Saleh Sepas,...

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Santiago’s Teatro a Mil 2026: theatre, democracy and… by Maria Delgado 4th February 2026
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Echoes of a Crumbling Republic: Review of… by Susanna Sun 4th January 2026
Writing Across Taiwan and Macau: An Interview with… by Kuan-Ting Lin 6th January 2026
What Happens In Mecca, Stays In Mecca:… by Marina Johnson 31st December 2025
“El entusiasmo” (The Enthusiasm) at… by Maria Delgado 26th December 2025
Edinburgh Festival Fringe 2025: Provisional Futures… by Duška Radosavljević 25th August 2025
Alan Ayckbourn’s Woman in Mind at the Duke of York’s… by Aleks Sierz 8th January 2026
Martin Crimp’s Version Of “The Seagull”… by Daniel Meyer-Dinkgräfe 26th January 2026

Recent Posts

The “Screen / Stage” Programme At The Between.Pomiędzy Festival 2025 6th February 2026
In Oldenburg’s “The Tempest,” Trusting The Text Pays Off 6th February 2026
Enzo Moscato. “I Can’t Tell The Story Of My Life” (“Non Posso Narrare La Mia Vita”) 6th February 2026
Raising Fists and Sharing Bread: Tiziano Cruz’s “Wayqeycuna” (Argentina) 5th February 2026
Santiago’s Teatro a Mil 2026: theatre, democracy and artistic responsibility 4th February 2026
“A Place Of Safety, A Journey In The Central Mediterranean” 3rd February 2026
Kia Mau Festival Brings Hana Keaka (Hawaiian Language Theatre) to Aotearoa: “Puana” by Tammy Haili‘ōpua Baker 29th January 2026
“Before The Storm” (“Prima Del Temporale”) At Milan’s Piccolo Teatro 27th January 2026
How to Make Rube Goldberg Punk Rock: Narcissister’s “Voyage Into Infinity” 27th January 2026
Martin Crimp’s Version Of “The Seagull” Makes It To The German Stage 26th January 2026

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