Kalina Stefanova and Marvin Carlson in conversation on Directors from Eastern Europe. Part 3.
This is PART 3 of the interview. To read PART 1 and PART 2, click the links. Tomasz Wiśniewski:...
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Kalina Stefanova and Marvin Carlson in Conversation on Directors from Eastern Europe. Part 2.
This is Part 2 of the interview. To read Part 1 and Part 3, click the links. Tomasz Wiśniewski:...
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The Universal Immigrant: “Ellis Island” by James Clements and Doireann Mac Mahon
The last several years in our shared history, particularly the rise of discriminatory legislation,...
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Kalina Stefanova and Marvin Carlson in Conversation on Directors from Eastern Europe. Part 1.
A zoom conversation conducted on 13th May 2021 as part of the Twelfth Between.Pomiędzy Festival....
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Italian Choreographer Roberto Castello on Dance, Politics and Dance as Labour
During the second edition of the artist-led Mercurio Festival in Palermo, the Italian...
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Lucy McCormick’s “Life: LIVE!” at Battersea Arts Centre
I cannot imagine a better way to end one’s Covid-19 lockdown than to head to a Lucy McCormick show...
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“Divina invención” Love by Lope de Vega and by Sergio Blanco
The Compañía Nacional de Teatro Clásico (CNTC) in Spain is asking different contemporary...
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“Hamlet”: A Play That Speaks to Pandemics Past and Present
I went to the theatre for the first time in 15 months to see the Theatre Royal Windsor’s new...
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Africa’s Oldest Dance Festival Evolves to Overcome the Pandemic
Now in its 23rd year, JOMBA! is a contemporary dance festival housed at the University of...
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Beckett, Technology, and Experimentation: Report from the Between.Pomiedzy Festival 2021, Day 4
Day four of the Between.Pomiedzy festival featured Virtual Beckett, the third seminar by the...
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Designing for Tuacahn Amphitheater (A Three Part Series): Part Two – An Interview With Projection Designer Steven Royal
For Part 1 see here. “I think that’s sort of the line I’m always hovering around; Does it feel...
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All the TikTok’s a Digital Stage
In the chaotically queer third act of Fake Friends’ 2020 production of Circle Jerk, the...
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Immersion and Spectator Self-Reckoning: “Boxing Shadows” at the Avignon Theatre Festival
One of the highlights of this year’s Avignon Festival was Boxing Shadows, written especially by...
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Designing for Tuacahn Amphitheater (A Three Part Series): Part One – An Interview With Set Designer Adam Koch
For Part 2 see here. Located in Southern Utah, the majestic Tuacahn Amphitheater has been the...
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Very Genki, Slightly Kitsch, Occasionally Compelling: The Olympic Opening Ceremony Put Humanity in Centre Frame
The rising of the Japanese flag and the singing of the national anthem is the first moment of...
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Art Scene: “Archive: This Was The End” Taps Extrasensory Senses
Speaking to humanity across time and space, Archive: This Was the End is an interactive sculpture...
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After the Pandemic: the Music Day at the Conservatory “San Pietro a Majella” in Naples
Founded in 1985, the Music Day is an event held on June 21st every year, in order to celebrate the...
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Obscured Truths Come to Light in Hideki Noda’s “Fakespeare”
William Shakespeare is one of the world’s most influential playwrights, but his life continues to...
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Malayalam Theatre Heads to Clubhouse for New Forms of Storytelling
Clubhouse is taking over social media in a big way. The invitation-only, audio-only app is...
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Digital Sci-fi Opera “Red Giant”: An Opera Of Our Times
Red Giant, commissioned by Baltimore-based Indie Opera company, Rhymes with Opera, is a live,...
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