Letizia Fusini

author

A Tragedy With A Happy Ending: “The Emperor And The Concubine” By The China National Peking Opera Company At London’s Sadler’s Wells

Posted by Letizia Fusini | 17th Nov 2018 | China, London, Review, United Kingdom

The long-term collaboration between the China National Peking Opera Company (Guojia jingju yuan)...

Read More

Peking Opera At The British Library: The Triumph Of Xieyi

Posted by Letizia Fusini | 13th Nov 2018 | China, Chinese Theatre Abroad, London, Review, United Kingdom

As part of the China Focus Events Series, the British Library, in collaboration with Sinolink...

Read More

Modern Man’s Predicament: Nobel Laureate Gao Xingjian As A Tragic Playwright

Posted by Letizia Fusini | 8th Jun 2018 | China, Essay, Playwriting

The place of dramatic tragedy in the twentieth century was one of extreme ambiguity and...

Read More

Cross-cultural Encounters In World Theatre: Bertolt Brecht, The “Alienation” Effect And Chinese Drama

Posted by Letizia Fusini | 20th May 2018 | Acting, China, Essay

The German playwright and drama theorist Bertolt Brecht (1898-1956) is particularly famous for...

Read More

Reinterpreting The Tradition: A Contemporary Retelling Of Tang Xianzu’s “The Handan Dream” By The Guangzhou Dramatic Arts Centre

Posted by Letizia Fusini | 14th Feb 2018 | Adaptation, China, Review, Theatre and Opera

Conceived in 2016 in Guangzhou and previously performed in Beijing and St. Petersburg, the...

Read More

“A River All Red” And “The Phoenix Returns Home” By The China National Peking Opera Company At London’s Sadler’s Wells

Posted by Letizia Fusini | 5th Nov 2017 | China, Chinese Theatre Abroad, London, Review, Theatre and Opera, United Kingdom

Founded in 1955 by the renowned Chinese theatre star Mei Lanfang, the China National Peking Opera...

Read More

Like Us On Facebook

Facebook Pagelike Widget

Awards

Most Popular Posts

Chess The Musical: About Human Nature, Not Politics.… by Lisa Monde 20th May 2026
A Theatre Like Society In The Fundamentalist… by Ivanka Apostolova Baskar 23rd May 2026
David Yazbek: The Master of Adapting Films into… by Lisa Monde 2nd April 2026
The Precipitation Of Performance: Braddy And Burns… by Paul Shields 6th June 2026
Romeo Castellucci “Believing In Masks” At Milan’s… by Margaret Rose 13th March 2026
Theatre – Creating Conditions For What Has… by Ivanka Apostolova Baskar 16th May 2026
From A Basketball Athlete To A Political Dissident by Azadeh Kangarani 22nd May 2026
Waking Up in the Spotlight with “The Unusual… by Alexander Fatouros 24th March 2026
Richard III at MITEM: When the Monster Is Not Alone by Emiliia Dementsova 19th May 2026
“Today, Krleža Would Go Straight For The… by Ivanka Apostolova Baskar 5th June 2026

Recent Posts

Historical Memory On the Stage: Juan Mayorga’s “El Jardín Quemado” (The Scorched Garden) 11th June 2026
Now In Its 23rd Year, “Komödie Am Altstadtmarkt” In Braunschweig Is Still Going Strong 10th June 2026
The Precipitation Of Performance: Braddy And Burns On Beckett 6th June 2026
“Today, Krleža Would Go Straight For The Throat Of Project-Based Logic” 5th June 2026
Me+Lorca: Juan Diego Botto’s Mesmeric “Una noche sin luna” (A Moonless Night) 3rd June 2026
Corinna Harfouch’s Showpiece Of The Art Of Acting In Haidle’s “Spirit And The Dust” 2nd June 2026
In Pleasant Company: “Girl Dolls” 30th May 2026
“Chroniques” by Peeping Tom at Østre Gasværk Teater Copenhagen 28th May 2026
“Circle Mirror Transformation” 27th May 2026
A Theatre Like Society In The Fundamentalist Capitalism Could Not Survive Without Self-Curated Neomania 23rd May 2026

SEARCH OUR ARCHIVES

Pin It on Pinterest