Featured Archives - Page 112 of 259

Jan Klata’s “King Lear” at the Theatre Olympics: In the Name of the Father

Posted by Emiliia Dementsova | 2nd Nov 2019 | Festivals, Poland, Review, Russia, Theatre Olympics 2019

King Lear by William Shakespeare. Text adaptation and music scoring by Jan Klata. Translation:...

All We Need is Audience Development?

Posted by Goran Tomka | 1st Nov 2019 | Belgium, Essay, Management

This series of articles was commissioned in preparation for the IETM Plenary Meeting in Rijeka,...

Acceptance, Representation, and Everlasting Season of Love: Kelsee Sweigard as Maureen Johnson in The 20th Anniversary Touring Production of “Rent”

Posted by Irina Yakubovskaya | 1st Nov 2019 | Boston, Interview, Musical Theatre, United States of America

It has been nearly 25 years since RENT opened on Broadway, redefining the landscape of American...

Translating Trojan Horses

Posted by Ayesha Manazir Siddiqi | 1st Nov 2019 | Documentary Theatre, Essay, Theatre and Politics, Theatre and Religion, Translation, United Kingdom

In 2019, Ayesha Manazir Siddiqi was asked to translate Trojan Horse, a play by Lung Theatre based...

Annie Baker’s “The Antipodes” at the National Theatre

Posted by Mert Dilek | 31st Oct 2019 | London, Review, United Kingdom, United States of America

“Wily, slippery thing.” “Spiky little animal.” “One long nightmare.” These are the phrases that...

“The Eighth Life (for Brilka)”: Dark Chocolate

Posted by Emiliia Dementsova | 31st Oct 2019 | Festivals, Germany, Review, Russia, Theatre Olympics 2019

The Eighth Life (for Brilka) or Das achte Leben (Für Brilka). Adapted by Julia Lochte and Emilia...

Sarah Rutherford’s “The Girl Who Fell” at the Trafalgar Studios: Death, Mourning, Co-Incidence and Healing

Posted by Aleks Sierz | 31st Oct 2019 | London, Review, United Kingdom

Feeling guilty can be a drug. A powerful drug. Okay, it makes you feel bad, but at the same time,...

“XXX Neon Sign” Review: Embodied Performance About Working in a Brisbane Porno Shop

Posted by Melanie Walters | 31st Oct 2019 | Australia, Musical Theatre, Review

Review: XXX Neon Sign, composed by Dan Thorpe, Rumpus Theatre. More than perhaps any other...

A Transgender Theatre Group Focuses on the Lives of Fellow Members Through a Play

Posted by Harikumar J S | 30th Oct 2019 | India, LGBTQ+ Theatre, News

Mazhavil Dhwani which works towards the upliftment of the members of the transgender community in...

Mòshkamo: “Finding Wolastoq Voice”

Posted by Alvina Ruprecht | 30th Oct 2019 | Canada, Review, Transcultural Collaborations

Mòshkamo: Finding Wolastoq Voice reveals the founding cosmogony of the East Coast peoples. This...

Double Bill: “Annunciation” by Angelin Preljocaj and “Siciliana” by Kor’sia Company at Teatro Massimo of Palermo (Italy)

Posted by Ariadne Mikou | 30th Oct 2019 | Italy, Review, Theatre and Dance

The Teatro Massimo Βallet (TMB) company is one of the remaining state-subsidized ballet companies...

Between Activity and Reflection

Posted by Deepa Ganesh | 29th Oct 2019 | India, Review, Theatre and Art

The Art Experience workshop at Ninasam, tried to grapple with that experience which is...

Reflections on “Passageways”

Posted by David Vernon | 29th Oct 2019 | Musical Theatre, New York, Review, United States of America

Has Amy Oestreicher finally gotten that which she dreamed of? As a child, like so many other kids...

“The Shadow Whose Prey the Hunter Becomes”: Who Decides Who We re?

Posted by Bryoni Trezise | 29th Oct 2019 | Australia, Review, Theatre and Disability

In 2009 I wrote an email to the artistic director of Back to Back Theatre, Bruce Gladwin, gushing...

Iasi Theatre Festival for Young Audiences: “153 Seconds,” A Documentary of Contemporary Tragedy

Posted by Aisling Murphy | 28th Oct 2019 | Festivals, Review, Romania, Theatre for Young Audiences

The exposed nerve of a reignited public tragedy hangs in the ether of Teatrul Luceafărul Iaşi. We...

Ravers Under the Microscope: Dance Umbrella Festival Opens with Gisèle Vienne’s “Crowd” at Sadler’s Wells

Posted by Lisa Marie Bowler | 28th Oct 2019 | Dance Umbrella 2019, London, Review, Theatre and Dance, United Kingdom

The opening of the annual Dance Umbrella Festival of international contemporary dance in London...

Interpreting an Abstract Idea

Posted by Ranjani Govind | 28th Oct 2019 | India, Review, Theatre and Dance

Contemporary steps and fusion music will cruise through body-energies with Bharatanatya, Kathak,...

Richard Gadd’s “Baby Reindeer” at The Bush Theatre: An Obsessive Story About Obsession

Posted by Aleks Sierz | 27th Oct 2019 | Documentary Theatre, London, Review, United Kingdom

True stories, even in a fictional form, have the power to grip you by the throat, furiously shake...

“The Greatest Event in a Doll’s Life.” A New Work on Marriage in Contemporary China

Posted by Shiya Lu | 27th Oct 2019 | China, Devised Theatre, Interview, Theatre and Gender

Even in 2019, surrounded by futuristic skyscrapers, accompanied by mobile apps and English...

Eunkyung Jeong Elucidates Enlightenment in Her Autobiographical Installation

Posted by Rathsaran Sireekan | 27th Oct 2019 | Review, South Korea, Theatre and Gender

The Political Self of Beauty South Korean artist Eunkyung Jeong’s interdisciplinary work at...

Featured

Jan Klata’s “King Lear” at the Theatre Olympics: In the Name of the Father

All We Need is Audience Development?

Acceptance, Representation, and Everlasting Season of Love: Kelsee Sweigard as Maureen Johnson in The 20th Anniversary Touring Production of “Rent”

Translating Trojan Horses

Annie Baker’s “The Antipodes” at the National Theatre

“The Eighth Life (for Brilka)”: Dark Chocolate

Sarah Rutherford’s “The Girl Who Fell” at the Trafalgar Studios: Death, Mourning, Co-Incidence and Healing

“XXX Neon Sign” Review: Embodied Performance About Working in a Brisbane Porno Shop

A Transgender Theatre Group Focuses on the Lives of Fellow Members Through a Play

Mòshkamo: “Finding Wolastoq Voice”

Double Bill: “Annunciation” by Angelin Preljocaj and “Siciliana” by Kor’sia Company at Teatro Massimo of Palermo (Italy)

Between Activity and Reflection

Reflections on “Passageways”

“The Shadow Whose Prey the Hunter Becomes”: Who Decides Who We re?

Iasi Theatre Festival for Young Audiences: “153 Seconds,” A Documentary of Contemporary Tragedy

Ravers Under the Microscope: Dance Umbrella Festival Opens with Gisèle Vienne’s “Crowd” at Sadler’s Wells

Interpreting an Abstract Idea

Richard Gadd’s “Baby Reindeer” at The Bush Theatre: An Obsessive Story About Obsession

“The Greatest Event in a Doll’s Life.” A New Work on Marriage in Contemporary China

Eunkyung Jeong Elucidates Enlightenment in Her Autobiographical Installation

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