Eylül Fidan Akıncı

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Eylül Fidan Akıncı is the house dramaturg of Theater aan de Rijn, Arnhem.

Ali Asghar Dashti & Nasim Ahmadpour – “We Came To Dance” (Kunstenfestivaldesarts)

Posted by Eylül Fidan Akıncı | 20th Jun 2024 | Iran, Review, Theatre and Politics

“Can we fundamentally give a dancer an order to stop moving? […] Is dance not defined as the...

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EXÓTICA by Amanda Piña

Posted by Eylül Fidan Akıncı | 20th Jun 2023 | Belgium, LGBTQ+ Theatre, Review, Theatre and Dance

A transpersonal and transcultural desire to dance together EXÓTICA is a journey that sets off even...

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“Bronx Gothic” by Okwui Okpokwasili

Posted by Eylül Fidan Akıncı | 4th Jul 2022 | LGBTQ+ Theatre, New York, Nigeria, Review, Theatre and Dance, Theatre and Decolonization, United States of America

On May 8, 2022, Nigerian-American artist Okwui Okpokwasili’s Bronx Gothic (2014) at...

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Love, Labor, Loop: (Object’s) Life according to Geumhyung Jeong

Posted by Eylül Fidan Akıncı | 7th Apr 2020 | Essay, Puppetry, South Korea, Transmedia

The history of puppetry is full of supernatural bodies on stage that dramatically or subtextually...

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Sachli Gholamalizad’s “Let us believe in the beginning of the cold season”: Iranian Identity in an Age of Diaspora

Posted by Eylül Fidan Akıncı | 2nd Jun 2019 | Belgium, Review, Theatre and Politics

I can give two accounts of Sachli Gholamalizad’s solo performance Let us believe in the beginning...

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“Let Us Believe In The Beginning Of The Cold Season” – Sachli Gholamalizad

Posted by Eylül Fidan Akıncı | 1st Jun 2019 | Belgium, Review, Transmedia

I can give two accounts of Sachli Gholamalizad’s solo performance Let us believe in the beginning...

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The Spirit Of Judson In A New Millennium: The Legendary Collective Still Oscillates Between Canonization And Transience

Posted by Eylül Fidan Akıncı | 16th Feb 2019 | Essay, New York, Theatre and Dance, Transmedia, United States of America

Until the beginning of February, the New York MoMA is mounting an exhibition on Judson Dance...

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The Queen of Versailles Musical or the Funeral of… by Lisa Monde 29th October 2025
FITPTI – International Festival For Young… by Teodora Medeleanu 31st October 2025
“Trilogia Cadela Força – Capítulo II:… by Jenny Strataki 6th August 2025
3sisters at the Novi Sad Theatre by Emilija Kvočka 7th November 2025
Six-Hour Tour De Force “Hamlet” In Hamburg,… by Daniel Meyer-Dinkgräfe 27th October 2025
Jack Holden’s The Line of Beauty at the Almeida… by Aleks Sierz 2nd November 2025
LegalAlien’s “The Flowers of… by Verity Healey 27th October 2025
Tanika Gupta’s “Hedda” at the Orange… by Aleks Sierz 30th October 2025
James Graham’s “Punch” at the Apollo Theatre:… by Aleks Sierz 30th September 2025
The Filmed Performance “Woodland Bird… by Martin Blaszk 9th November 2025

Recent Posts

“Liebe Mit Taktgefühl” By Barbara Raue-Flajs, At Piccolo Teatro Haventheater, Bremerhaven: Directorial Reflections 20th November 2025
Thriving in an Either-Or World: An Interview with Taiwan-based Pangcah Theatre Artist Ihot Sinlay Cihek 19th November 2025
Dimension Zero: All Judy, No Punch 17th November 2025
Nearly Finished 15th November 2025
The Filmed Performance “Woodland Bird Woman” – a Collaboration Between Esther Salamon, Robert Laycock And David Stephenson: Between.Pomiędzy Dispersed Festival 2025 9th November 2025
3sisters at the Novi Sad Theatre 7th November 2025
Jack Holden’s The Line of Beauty at the Almeida Theatre: A Subtle And Appealing Adaptation Of A Modern Classic 1980s Story 2nd November 2025
Checking The Boxes 1st November 2025
FITPTI – International Festival For Young Audiences 2025 – A Northeastern Romanian Story 31st October 2025
Tanika Gupta’s “Hedda” at the Orange Tree Theatre: A Fresh And Fascinating Reinterpretation Of A Classic Which Foregrounds The Issues Of Race And Empire 30th October 2025

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