Invisible Diaries: Being In-Between, Holding the Space
This article is part of the Dramaturgs’ Network’s Invisible Diaries series. I am part German and...
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Essay
After Coronavirus: Global Youth Reveal That the Social Value of Art Has Never Mattered More
Health and government officials around the globe are slowly and ever-so-tentatively moving to...
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Invisible Diaries – Best Of: A Note from the Curator
As a response to the damage the Covid-19 pandemic has caused in the theatre world, the Dramaturgs’...
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Is COVID-19 A Blessing In Disguise For Theatre?
On the center stage, where many an actor has strutted his stuff, sits a ghost light. Lonesome....
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Invisible Diaries: “European Dramaturgy in the 21st Century, A Constant Movement”
This article is part of the Dramaturgs’ Network’s Invisible Diaries series, and has...
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Evidence and/or Performance?
It all starts innocently enough. Two actors (Damian Sosnowski and Alan Al-Murtatha) and an actress...
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Invisible Diaries: “Doing Time”
This article is part of the Dramaturgs’ Network’s Invisible Diaries series, and has...
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Translating Theatre/Trans-lating Theatre
David Malcolm has been one of the key organizers of the Between. Pomiędzy festival ever since it...
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Invisible Diaries: A Problem With Walls (Covid-19 Week 3, Day 2)
This article is part of the Dramaturgs’ Network Invisible Diaries series. Woke up today to...
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Kosmopolis – The Between-Pomiędzy Festival of Literature and Theatre
Unusual times need unusual solutions. We certainly live in times that are challenging, but they...
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Kosmopolis Rebound: Sopot, 2020
Professor S.E. Gontarski is the honorary patron of Beckett Research Group in Gdańsk, created and...
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Try Again. Fail Again. Fail Better.
Milo Rau was to receive an honorary doctorate from the UGent in March. Corona decided differently,...
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The Crisis Stage
In times of crisis, we see just how closely reality and fiction really are. What seemed like a...
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Ten Years of Providing Young Performers with a Theatre Platform
It’s an ordinary Saturday morning. The October sun is already hitting hard, I am sweating. I am in...
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The Power of Proximity and the Theatre of Touch: What Losing Live Audiences May Mean for Theatre
Being close to others is intrinsically associated with theatre. In Shakespeare’s London, theatre...
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The Story Behind Andrew Ssebaggala’s “Mother Uganda”
Rose Mbowa is an indubitable doyenne in Uganda’s theatre. At Makerere University, an ivy league of...
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As We Turn to Creativity in Isolation, The Coronavirus is a Calamity on Top of an Arts Crisis”
Some years ago, I traveled to Israel for a conference on dramaturgy. Losing my way at the train...
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A Mid-Pandemic Letter To The City Of Ottawa From A Young Theatre Critic (CC: GCTC’s Daisy)
It’s been a strange few weeks. Despite the unprecedented scope of this cultural wound, I write to...
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After the Plague, Shakespeare Imagined a World Saved from Poison, Slander and the Evil Eye
Shakespeare lived his life in plague-time. He was born in April 1564, a few months before...
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Love, Labor, Loop: (Object’s) Life according to Geumhyung Jeong
The history of puppetry is full of supernatural bodies on stage that dramatically or subtextually...
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