Susan Berardini

regional managing editor

s.berardini@thetheatretimes.com

Susan P. Berardini, Ph.D., is an Associate Professor of Spanish at Pace University in downtown Manhattan, where she has taught all levels of Spanish language, literature, and culture since 1997. Her research areas include contemporary Spanish and Argentine theater, with a particular interest in women playwrights. She is also one of the coeditors of the Estreno Contemporary Spanish Plays translation series, which features many of Spain's most important playwrights of the 20th and 21st centuries.

The Power Of “La Pilarcita”: María Marull’s Opera Prima Celebrates Its Fourth Season In Buenos Aires

Posted by Susan Berardini | 17th Jun 2018 | Argentina, Playwriting, Review

Pilgrimages have long served as expressions of both collective and individual faith, as well as...

Read More

“La Fiesta del Viejo”: A Fresh Perspective on a Classic Tale

Posted by Susan Berardini | 9th Jul 2017 | Argentina

It’s a beautiful Sunday morning in Buenos Aires, and while most tourists are rushing off to the...

Read More

Paula Marull’s “Yo no duermo la siesta” Delights Audiences at the Espacio Callejón

Posted by Susan Berardini | 31st May 2017 | Argentina, Theatre and Gender

When Prince Charming shows up on a dilapidated motorcycle in the middle of the night, seemingly...

Read More

New Leadership Brings Innovation to the Teatro 25 de Mayo

Posted by Susan Berardini | 3rd Feb 2017 | Argentina, News, Producing

Buenos Aires is widely recognized by many as the theater capital of South America, and both the...

Read More

Jorge Dubatti’s “Escuela de Espectadores” Sparks a Passion for Theater in Buenos Aires

Posted by Susan Berardini | 25th Oct 2016 | Argentina, Dramaturgy, News

Independent theater in Buenos Aires is currently thriving, despite a number of severe economic...

Read More

Like Us On Facebook

Facebook Pagelike Widget

Featured Writers

Most Popular Posts

The Magic is in the Miniature: Toy Theatre Thrives… by Marisa C. Hayes 26th April 2020
“XXX Neon Sign” Review: Embodied… by Melanie Walters 31st October 2019
International Online Theatre Festival 2020. A… by Ariadne Mikou 15th May 2020
Serbian Balcony Performances in Times of COVID-19:… by Borisav Matić 12th May 2020
VR, Theatre and the Importance of Immersion by Ágnes Bakk 26th April 2020
Culture Matters: Lluís Pasqual, Pedro Almodóvar and… by Maria Delgado 28th April 2020
Stage Design: Tradition of Diversity by Nadine Berghausen 10th May 2020
Theatre During Self-Isolation: Danger as Opportunity by Emiliia Dementsova 27th April 2020
The WaxFactory’s “Lulu XX” by Abigail Weil 28th September 2019
Italian Resilience Against COVID-19: Dancers in Quarantine by Maria Pia Pagani 11th May 2020

Recent Posts

The Online Stephen J Chifunyise International Theatre Festival 25th May 2020
The Other Is Denied a Voice: Maja Kleczewska’s “Hamlet/Гамлет” 24th May 2020
Curve Leicester’s “What the Butler Saw”: A Review 24th May 2020
Between.Pomiędzy Festival: Literary Criticism Now 23rd May 2020
Between.Pomiędzy: A Festival That Believes in Europe 23rd May 2020
Drama Collective of Serbian National Theatre as an Example of Solidarity 22nd May 2020
Interview with Author and Director Eva Doumbia 22nd May 2020
Invisible Diaries – Best Of: A Note from the Curator 21st May 2020
Revisiting the National Theatre’s 2011 “Frankenstein” 21st May 2020
Evidence and/or Performance? 20th May 2020

SEARCH OUR ARCHIVES

Pin It on Pinterest