Sergey Kuryshev: This Means Figuring Out Our Life And Presenting It On The Basis Of The Classic Text
Tonight is the opening night of Uncle Vanya at the Theatre Royal Haymarket, In anticipation of the...
Read MorePosted by Irene Kukota | 24th May 2018 | Acting, Interview, London, Russia, Russian Theatre Abroad, United Kingdom
Tonight is the opening night of Uncle Vanya at the Theatre Royal Haymarket, In anticipation of the...
Read MorePosted by Kee-Yoon Nahm | 20th May 2018 | Interview, South Korea, Theatre and Gender, Theatre and Politics
In the past few months, the Korean theatre scene has been under intense public scrutiny as...
Read MorePosted by Cristina Modreanu | 14th May 2018 | Interview, New York, Romania, United States of America
Interview by Cristina Modreanu with the occasion of the first edition of Bonnie Marranca’s essays...
Read MorePosted by Yulia Shamporova | 13th May 2018 | Immersive Theatre, Interview, Russia
Immersive performances are something relatively new for theater-goers around the globe. What are...
Read MorePosted by Martha Steketee | 12th May 2018 | Adaptation, Chicago, Dramaturgy, Interview, Theatre and Politics, Translation, United States of America
Goodman’s Resident Dramaturg on how her work gives texture and specificity to a production....
Read MorePosted by David Vernon | 11th May 2018 | Interview, LGBTQ+ Theatre, Theatre and Opera, United States of America
Clint Borzoni is the current Composer-in-Residence for Musica Marin, a non-profit organization...
Read MorePosted by Elena Bobrova | 9th May 2018 | Interview, Russia, Theatre and Dance
Mark Olich has been snapping the repetitions and backstage life of the famous theater for many...
Read MorePosted by Michael Schweikardt | 6th May 2018 | Design, Interview, United States of America
The Crucible (1953) is Arthur Miller’s harrowing play about the 1692 Salem witch trials. Set in...
Read MorePosted by Álvaro Vicente | 3rd May 2018 | Interview, Playwriting, Spain, Transcultural Collaborations, Uruguay
The acclaimed Franco-Uruguayan playwright Sergio Blanco was in Madrid to stage his play Ostia at...
Read MorePosted by Ágnes Bakk | 28th Apr 2018 | Design, Germany, Interview
Mona el Gammal studied scenography, stage design, and exhibition design at Karlsruhe, Hochschule...
Read MorePosted by David Vernon | 24th Apr 2018 | Devised Theatre, Festivals, Interview, New York, United States of America
Jacob Storms is the recipient of the 2017 United Solo Award for Best One-Man Show after he...
Read MorePosted by Nobuko Tanaka | 19th Apr 2018 | Interview, Ireland, Japan, Translation
When Akira Shirai first read the script for Ballyturk, he quickly understood why its creator,...
Read MorePosted by Kate Youde | 12th Apr 2018 | Interview, Stage Combat, Theatre and Gender, United Kingdom
“We will not glorify violence” Visit Ruth Cooper-Brown at the weekend and you might...
Read MorePosted by Nobuko Tanaka | 4th Apr 2018 | Belgium, Interview, Japan, Theatre and Dance, Transcultural Collaborations
There are mutual squeals of delight when Belgian dance artist, Sidi Larbi Cherkaoui and Spanish...
Read MorePosted by Hayley Malouin | 30th Mar 2018 | Canada, Interview, Playwriting
Alt.theatre web editor Hayley Malouin interviews playwright Hannah Moscovitch about female...
Read MorePosted by Anadolu Agency | 26th Mar 2018 | Directing, Interview, Turkey
Istanbul Metropolitan Municipality’s City Theaters recently staged Henrik Ibsen’s 1879...
Read MorePosted by David Vernon | 18th Mar 2018 | Directing, Interview, New York, United States of America
My aesthetic as a stage director is built first on a desire to create an experience that captures the poetic nature of the human condition. It’s a desire to connect with something larger than our sense of self, something sacred. And that’s what I see as the beauty of the theatre. In terms of the expression of that desire, my process is to bring to life a very visual, theatrical, and specific life on stage that illuminates increments of thought as components of physical action, which is how I articulate the methodology of One-Thought-One-Action.
The beauty of OTOA is that if you want to, you can use it almost like the cinematic process of editing film where one can compose one frame of action at a time. It’s how the text supports the physical actions on stage so that even if you could turn off the sound of the actors, the viewer would still get the story being told through the visual embodiment of thought as physical action.
Read MorePosted by Agata Łuksza | 18th Mar 2018 | Adaptation, Croatia, Directing, Dramaturgy, Interview, Poland, Theatre and Politics
Kasia Lech (KL): How could we introduce Klątwa [The Curse] and its context to someone for whom the...
Read MorePosted by Ágnes Bakk | 17th Mar 2018 | Germany, Immersive Theatre, Interview, Transmedia
Interview with Dr. Robin Curtis, professor of media studies at Albert-Ludwigs-Universität...
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