Susan Berardini

regional managing editor - Argentina

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

Recent Posts

Laughing with a Burnt Heart: Will There Be an End to Hatred? 25th August 2019
Review of “Gauhar”: A Peep Into a Bygone Era’s History, Emotions and Reality 25th August 2019
“Passengers”: Nostalgia, Circus, and Finding Human Connection. 24th August 2019
Branden Jacobs-Jenkins’s “Appropriate” at the Donmar Warehouse: Deconstructing the American Family Play 24th August 2019
“Genocide 25”: A Rwandan Generation Learning About 94 23rd August 2019
Contemporary and Medieval Women’s Voices Collide in “My Dearworthy Darling” 23rd August 2019
“Go Bang Your Tambourine” at The Finborough Theatre 22nd August 2019
My Mother, My Self. A Son Becomes His Mother Becomingly in “Ni Mi Madre” at New York’s Rave Festival 22nd August 2019
The Power of a Collective: Playwright Groups at Centre 42 21st August 2019
“Macbeth” at Oregon Shakespeare Festival 21st August 2019

Most Popular Posts

“Super Vocal,” Chinese TV Talent Contest For Opera… by Jinnie Wei 17th February 2019
Ian McKellen Tour 2019: Tickets, Dates, And Venues… by Simon Rushton 3rd December 2018
How “Six” Became The Biggest New Musical… by Sarah Carson 23rd January 2019
“Hadestown,” The Cult Album That Went To… by Holly Williams 27th November 2018
PQ 2019: A Taboo Collection From Budapest by Abigail Weil 15th June 2019
PQ 2019: A New Reality by Abigail Weil 9th June 2019
Herta Müller’s “Niederungen” and The… by Jozefina Komporaly 25th May 2019
“Medea” By Simon Stone, The New Stage Sensation by Antonio Hernández 14th February 2019
Seven Ways Fight Directing Made Me a Better Real… by Meron Langsner 6th August 2019
“Death of a Salesman” at The Ruskin… by Christine Deitner 8th July 2019

SEARCH OUR ARCHIVES

Pin It on Pinterest