Featured Archives - Page 208 of 252

Ponyboy Curtis’ “Vs” at Yard Theatre

Posted by Aleks Sierz | 26th Jun 2017 | LGBTQ+ Theatre, Review, United Kingdom

Ponyboy Curtis are a cult phenomenon. Chris Goode’s queer performance collective has won plaudits...

Listening, Balance and Why It’s Everything: Talking Dramaturgy With Rosie Kellagher

Posted by Andrew Edwards | 25th Jun 2017 | Dramaturgy, Interview, Scotland, United Kingdom

A conversation about dramaturgy and New Writing with Rosie Kellagher, Literary Manager for the...

Interview with the Playwright, Director, and Translator of “Sister Mok-Rahn”: How an Authentically Korean Story Crosses Over to New York

Posted by Walter Byongsok Chon | 24th Jun 2017 | Interview, South Korea, Translation

Eunsung Kim is a South Korean playwright and the Director of Dalnara Dongbakkot Company. He was...

Celebrating Theatre: Polish Festivals 2017

Posted by Kasia Lech | 23rd Jun 2017 | Festivals, News, Poland

The 2016/17 theatrical season in Poland is about to end and most of the theatres will close for...

Review of Martyna Majok’s “Cost Of Living”

Posted by Jack Wernick | 21st Jun 2017 | New York, Review, Theatre and Disability, United States of America

Cost of Living is a vital new play from Polish-American playwright Martyna Majok. Following an...

“Anatomy of a Suicide” at The Royal Court Theatre

Posted by Aleks Sierz | 20th Jun 2017 | London, Review, United Kingdom

Dorothy Parker’s take on suicide is called “Resumé”: it goes, “Razors pain you; Rivers are damp;...

“Punts” Brings Up Questions Of Disability, Sexual Consent, And Parental Control

Posted by Aleks Sierz | 19th Jun 2017 | London, Review, Theatre and Disability

London fringe theatre is underfunded and under-resourced, but it often produces work that is more...

Transmedia Storytelling in the Performing Arts, a New Grammar to be Learned: An Interview with Belén Santa-Olalla

Posted by Ágnes Bakk | 17th Jun 2017 | Immersive Theatre, Interview, Participatory Theatre, Spain, Transmedia

Belén Santa-Olalla has a BA in Media Practice and Theory from Sussex University, Brighton. She...

Сryout With Precisely Measured Silence

Posted by Veronika Skliarova | 16th Jun 2017 | Review, Theatre and Gender, Ukraine

Theater Vinora shows Women’s Voices, performance with elements of storytelling, based on...

Stories of Diversity: An Interview with Martyna Majok

Posted by Jack Wernick | 16th Jun 2017 | Interview, New York, Playwriting, Theatre and Disability, United States of America

Martyna Majok is a young playwright whose new play, Cost of Living, has just opened in a Manhattan...

Taking a Ride on a “Red Bike”

Posted by Caridad Svich | 15th Jun 2017 | London, News, Theatre and Politics, United Kingdom, United States of America

Against the roar of asphalt and a set of wheels, a child looks out onto the horizon and tries to...

“I, Wu Song”: A One-Man Cantonese Opera – Without Songs or Words

Posted by Zolima Citymag | 13th Jun 2017 | China, Hong Kong, Review, Theatre and Opera

Anyone familiar with Chinese opera would recognise the role Kelvin Ng Kwok-wa is playing next....

“Common:” Difficult To Follow And Nihilistic At The Wrong Time

Posted by Aleks Sierz | 12th Jun 2017 | London, Review, United Kingdom

History is a tricky harlot. She is bought and sold, fought for and thrown over, seduced and...

Autotheatre in Poland as a Form of Institutional Critique

Posted by Marta Keil | 10th Jun 2017 | Devised Theatre, News, Poland

During the last two seasons we have been observing a distinctive trend of political theatre that...

Erich Maria Remarque’s “Three Comrades” (“Drei Kameraden”) by the Sovremennik Theatre

Posted by Anna Prosvetova | 10th Jun 2017 | London, Review, Russia, United Kingdom

This new tour of the Sovremennik Theatre in London also meant the premiere of Erich Maria...

Defying “Romeo And Juliet” at The Shakespeare’s Globe

Posted by Aida Rocci | 9th Jun 2017 | London, Review, United Kingdom

In “Romeo and Juliet” directed by Daniel Kramer, love, desire and violence are layered on top of each other, and with bold visuals and a daring interpretation, the classic releases its full power to examine violence and what can save us from it.

Interview: Ha Sung-kwang as Cheng Ying in “The Orphan of Zhao: Seeds of Revenge”

Posted by Kim Soyeon | 8th Jun 2017 | Acting, Adaptation, Interview, South Korea, Translation

The Orphan of Zhao: Seeds of Revenge was staged again recently. The premiere production was an...

Defunded and Defiant, Iranian Theatre’s Path to Become Independent and/or Private

Posted by Marjan Moosavi | 8th Jun 2017 | Essay, Iran, Theatre and Politics

Independent theatres around the world pursue a twofold socio-economic and artistic goal and aim to make financial resources accessible to all individuals and groups as well as developing new theatrical experiences. The broad...