Patricia Rincon

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Most Popular Posts

David Yazbek: The Master of Adapting Films into… by Lisa Monde 2nd April 2026
Maxim Sukhanov – About The “Brew”… by Sergey Elkin 1st May 2026
“Broken Melody” at MITEM: A Music That Finds Its Way Home by Emiliia Dementsova 13th May 2026
Waking Up in the Spotlight with “The Unusual… by Alexander Fatouros 24th March 2026
“Mothers: A Song for Wartime” by Marta Górnicka at… by Duška Radosavljević 13th May 2026
Pinocchio. What Is a Person? at MITEM: Who Gets to… by Emiliia Dementsova 8th May 2026
Theatre – Creating Conditions For What Has… by Ivanka Apostolova Baskar 16th May 2026
“The Devil Wears Prada” and Other… by Lisa Monde 8th February 2026
Romeo Castellucci “Believing In Masks” At Milan’s… by Margaret Rose 13th March 2026
Michael Frayn’s “Copenhagen” at the Hampstead… by Aleks Sierz 14th April 2026

Recent Posts

From A Basketball Athlete To A Political Dissident 22nd May 2026
Bremen’s Packhaustheater Turns To Artist Paula Modernsohn-Becker 21st May 2026
Richard III at MITEM: When the Monster Is Not Alone 19th May 2026
Theatre – Creating Conditions For What Has Been Silenced To Emerge 16th May 2026
“The Copenhagen Trilogy” by Tove Ditlevsen, adapted by Tom Silkeberg, directed by Anja Suša at Malmö City Theatre 16th May 2026
“The Cherry Orchard”: The Comedy Of Ruins 15th May 2026
“Broken Melody” at MITEM: A Music That Finds Its Way Home 13th May 2026
“Mothers: A Song for Wartime” by Marta Górnicka at Gothenburg City Theatre 13th May 2026
In “The Aquarium” Nina Plavanjac Turns Family Memory Into a Transparent Cage 12th May 2026
Pinocchio. What Is a Person? at MITEM: Who Gets to Be Seen as Fully Human? 8th May 2026

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