All Wuzhen’s A Stage, But It’s Not Yet A Big Player
After a divisive Wuzhen Theatre Festival, the Chinese theater must reassess its priorities. The...
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Essay
Taking My Shoes Off: Dramaturgy By Movement
My mode of being, as a dramaturg, begins with looking and continues with language. Much of my work...
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Berlin: Governing A “Creative” City
Advocacy for the arts has been one of the central topics of the meetings and research activities...
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Belonging In A “Creative” City
Advocacy for the arts has been one of the central topics of the meetings and research activities...
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Yukio Ninagawa, The Architect Of Cultural Crossroads
Part of the Asian Theatremakers series I met the late Japanese director Yukio Ninagawa in 2013...
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Words On The Street: The 36th Edition Of The International Street Theatre Festival In Jelenia Góra
One of the most vivid memories of my childhood is sitting on the ground in a parking lot of my...
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The Re-Invention Of Subtitling. A New Technical Approach To The International Market
“Pour bien faire, il faudrait un film qui tournerait la traduction intégrale (de la pièce) à la...
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Telling A Thai Tale: A Dance Dramaturg’s Take
“When I collaborate, I want to collaborate with the wrong person.” Pichet Klunchun, Thai dancer,...
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Theatre Meeting 2018: The Sun As The Last Frontier
With the Shifting Perspectives platform, the Berlin Theatre Meeting brings a selection of the best...
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Traditional Storytelling Meets New Media Activism In Iran
In the summer of 2015, I conducted fieldwork in Tehran and Qom, Iran, with a small team of...
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“Artificial Things”: An Introduction
Artificial Things [i] (directed by Sophie Fiennes) is a re-imagination of a contemporary dance...
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“Dysconnect” – Towards A Digital Political Dramaturgy: Re-Humanizing Agency In The Age Of Algorithms
In 2011, a woman stood outside an abortion clinic in Manhattan and asked...
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From Idea To Page To Stage
The creators of #SingIndiaSing talk about what it takes to make a musical from the ground up The...
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“There Was No Evidence That I Was Spying For Russia. I Was Just Queer.”
Oberon founder James Hogan writes about his experiences as a gay man in 1960s London, and why he...
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Who Doesn’t Love The Jester?
With their latest workshop, John Pradeep and his group reiterate that clowning is a serious art...
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The Expanding Notion Of Scenography And The Swiss Contribution To The 14th Prague Quadrennial
Scenography is generally considered an element of secondary importance in theatre since its main...
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Jasmin Vardimon: Adapting “Medusa” Myth In The Liquid Modernity Age
Choreographer Jasmin Vardimon’s new show, Medusa, is a multiple and composite piece of art that is...
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Moscow’s 2018 Liubimovka Festival: New Trends, Old Problems
The Liubimovka, for those not in the know, is the annual festival of young dramaturgy held in...
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A Return To The Body: TAO Dance Theatre And Its “Straight Line Trilogy”
Established by the choreographer Tao Ye in 2008, TAO Dance Theatre is an anomaly in the world of...
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When Koodiyattam Looks In The Mirror
Tracing its profile over the last 25 years unveils interesting changes in India’s only ancient...
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