Featured Archives - Page 219 of 254

The Magic Theatre of Emanuele Luzzati: A Documentary Exhibition at the Filatoio Rosso in Caraglio

Posted by Maria Pia Pagani | 24th Jan 2017 | Design, Essay, Italy

Ten years ago, on 26 January 2007, Emanuele Luzzati died, in Genua. He was one of Italian...

New Zealand Dramaturgy: A Maverick Undertaking in 2016 Part II

Posted by Dione Joseph | 23rd Jan 2017 | Dramaturgy, Essay, New Zealand

This is Part II of the series on dramaturgy in New Zealand. For Part I, click here. Dramaturgy is...

Spaces of Agency: Conversation with Maya Zbib of Zoukak Theatre Collective and Cultural Association

Posted by Amal Khalaf | 23rd Jan 2017 | Interview, Lebanon, Participatory Theatre, Producing, Theatre and Gender, Theatre and Politics

Based in Beirut, Zoukak Theatre Collective and Cultural Association was established in 2006, and...

Taiwan’s National Taichung Theater Celebrates Its Soft Launch through Epic, Ritualistic and Environmental Performances

Posted by KaiChieh Tu | 23rd Jan 2017 | Essay, Taiwan, Theatre and Dance

As the darkness creeps in, the already crowded plaza in front of the National Taichung Theater...

“Mount Tackle” by Heike Langsdorf / RADICAL_HOPE

Posted by Kristof Van Baarle | 22nd Jan 2017 | Belgium, Immersive Theatre, Review, Transmedia

In this time of superdiversity, with different cultures and strata of the population living...

Howard Barker and The Curious Case of the Chinese Play With the All-white Cast

Posted by Alice Jones | 22nd Jan 2017 | London, News, Theatre and Politics, United Kingdom

This week, In the Depths of Dead Love opened at The Print Room in London. The play, by Howard...

AbOriginal Theatre’s “Fractures” – Nigerian Adaptation of Arthur Miller’s “A View from the Bridge”

Posted by The Theatre Times | 22nd Jan 2017 | Adaptation, News, Nigeria

AbOriginal Theatre, the theatre arm of AbOriginal Productions, returned with its latest theatrical...

Musical About Fidel Castro Aims to Present Historical Complexity

Posted by Denise Baden | 22nd Jan 2017 | Cuba, News, Theatre and Politics, United Kingdom

The response to the death of Cuban revolutionary leader Fidel Castro has been striking for its...

The Year of Remembrance and Resistance: A Look at Polish Theatre in 2016. Part I

Posted by Kasia Lech | 21st Jan 2017 | News, Poland, Puppetry, Theatre and Politics

The final Polish premiere of 2016 was Triumf Woli [The Triumph of the Will] prepared by the...

Obituary: Nehad Selaiha, Renowned Theatre Scholar And Activist Dies

Posted by Ati Metwaly | 21st Jan 2017 | Egypt, News

On January 6th, the Egyptian culture scene lost one its highest pillars, Nehad Selaiha, a woman...

Tribute to 25 Years of Theatre of the Andes

Posted by Lola Proaño Gomez | 21st Jan 2017 | Bolivia, News

The idea of celebrating the 25 years of Theatre of the Andes (Teatro de los Andes) was born from...

“In What Time Do We Live?” Time and Distance in the Work of Toshiki Okada

Posted by Sara Jansen | 20th Jan 2017 | Essay, Japan, Playwriting

In May 2016, Japanese writer and director Toshiki Okada presented his latest production, Time’s...

“NIMBY” From Chilean-French Company Colectivo Zoológico at Iberoamerikanisches Theaterfestival

Posted by Andrea Pelegri Kristić | 20th Jan 2017 | Chile, Festivals, Germany, Review, Transcultural Collaborations, Translation

On July 4th, 1999, almost 1700 low-income families in Peñalolén, Santiago de Chile illegally...

Adapting a Theatre Myth into a Popular Myth: the case of Don Juan’s “Statue of the Commander” in Naples

Posted by Armando Rotondi | 20th Jan 2017 | Adaptation, Essay, Italy

The origin of the figure of Don Juan and, at the same time, of the related Statue of the Commander...

Building Bridges: A Transcultural Collaboration Between Spain and the UK

Posted by Aida Rocci | 19th Jan 2017 | News, Spain, Transcultural Collaborations, United Kingdom

Rodrigo Arribas (from Span’s Fundación Siglo de Oro) describes the transnational collaborative process that gave rise to his company, which has been the first to present a non-English speaking author at the Shakespeare Globe. Reflecting on the models that have arisen from the collaboration between Spain and the UK, he reflects on what differentiates and unites us in theatre.