“For They Do Not Know What They Dance”? (A Lecture-Essay Hesitantly Affirming the Idea that Every Lecture is Also a Performance) – PART I
(A Lecture-Essay Hesitantly Affirming the Idea that Every Lecture is Also a Performance)[1]With...
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Essay
From the Moscow Stage to Monroe and De Niro: How the Method Defined 20th-Century Acting
When an actor is criticized for peculiarly excessive preparation for a role, or an inability to...
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Interactive Map: “Theatre and Decolonization” at “The Theatre Times”
Over the years, our contributors have been addressing the topic of decolonization in theatre and...
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Why Costume Design Is a Snapshot of Hong Kong Life
This story is part of a collaboration between Zolima CityMag and the Hong Kong Design Centre’s new...
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As Utpal Dutt’s Play “Barricade” Completes 50 Years, a Look at How the Thespian Spoke Truth to Power
The immediate trigger for the play was political and topical. West Bengal, in 1971, was passing...
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Guide to the Classics: Shakespeare’s “Hamlet,” The Everest of Literature
Although I’m wary of declaring any literary work to be the greatest ever, Shakespeare’s Hamlet...
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Ecocide is Everywhere in Serbia, but Eco-Theatre Remains on the Fringes
Despite Serbia’s own environmental issues, work that explores ecological themes and the climate...
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About the futureStage Manifesto
When theatres closed during the pandemic, the first reaction was shock. Then was born, at least...
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Ambiguity and Amorality: Is Douglas Stewart’s “Ned Kelly” One of Australia’s Great Forgotten Plays?
In 1943, Dolia Ribush, a Russian-speaking Latvian theatre director of medium height and...
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Why Weren’t Women Allowed to Act in Shakespeare’s Plays?
Curious Kids is a series for children of all ages. If you have a question you’d like an expert to...
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Theatre as Shelter: on Artists’ in Ukraine (And Beyond) Response to the Russian Invasion
The World Theatre Day Message from the Polish Centre of the ITI was delivered by Dramatyczny...
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The Pandemic Nearly Killed Theatre — The Creative Way It Fought Back Could Leave It Stronger
When the UK went into lockdown in 2020, its multibillion-pound theatre industry could have ceased...
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Editorial for International Online Theatre Festival (IOTF)
Having been trained as a theater actor and director, I have been engaged with many kinds of...
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Free Performance: A Response to metaLAB’s futureStage Manifesto
On November 20, 2021, TheTheatreTimes.com published futureStage Manifesto, developed by...
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Elitism vs Fatigue, the Alice’s Rabbit Effect
Theater could be done with almost nothing. A proper stage is not even needed. Two people are...
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The Anatomy of Lost Love: Russian Culture at War
Vladimir Putin’s decision to recognize two breakaway, Russian-backed republics in Ukraine on...
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From Hand to Screen: The Performance of Joan Jonas
For more than four decades the visual artist Joan Jonas, representing the U.S. in the 2015 Venice...
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Samuel Beckett and Tadeusz Różewicz: Shared Themes and Motifs
INTRODUCTION This article is comparative in approach and introduces the work of two classic...
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Decolonising Shakespeare: Setting Othello in Ghana and Pericles in Glasgow
Over the last few years, the issue of decolonising the curriculum has become a growing concern for...
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Dissecting the Camera: Shifting Positions Between Theatre and Science
Defined as “a place to observe” The Theatron (theatre) has been an experimental platform for...
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