Latest Archives - Page 216 of 279

Review: A Peek Inside Wig in a Box’s New Work-in-Progress

Posted by Willow White | 12th Sep 2017 | Canada, Theatre and Gender

Montreal, Québec Willow White attends a workshop performance of The Gentle Art of Punishment and...

“Road” at The Royal Court

Posted by Aleks Sierz | 11th Sep 2017 | London, Review, United Kingdom

Some legendary plays are a disappointment when you see them again — they don’t live up to the...

When Women Sing Their Stories

Posted by Vikram Phukan | 11th Sep 2017 | India, Theatre and Gender

The various signposts of a woman’s life find striking expression in the songs that have graced the...

The Politics of Being Unaided: Act Alone Solo Performance Festival in Sudureyri, Iceland

Posted by Sigríður Jónsdóttir | 10th Sep 2017 | Festivals, Iceland

Suðureyri, a small fishing village found in a fjord at the northern tip of the Icelandic...

Disabled Bodies in American Theatre

Posted by Madison Parrotta | 9th Sep 2017 | Theatre and Disability, United States of America

In its simplest form, theatre is storytelling. From theatre professionals and academics to...

High Flying, Adored? When “Evita” Gets Whitewashed

Posted by Trevor Boffone | 8th Sep 2017 | Musical Theatre, United States of America

How many major Latinx or Latin American characters can you name from mainstream musical theatre...

We Can Know More Than We Can Tell: “L.I.F.E: A History of Distance”

Posted by Marié-Heleen Coetzee | 7th Sep 2017 | South Africa, Theatre and Dance

Stark white light from bulbs hanging in a straight line against a white backdrop greets audiences...

Iranian Theatre, Its Discontinuity and Discontent: An Interview with Amin Azimi, Part II

Posted by Marjan Moosavi | 6th Sep 2017 | Interview, Iran, Playwriting

To read Part I of this interview, click here. Amin Azimi is an Iranian theatre researcher,...

“Seven Plays of Koffi Kwahulé: In and Out of Africa” Is Made Available To Anglophone Audiences

Posted by The Theatre Times | 6th Sep 2017 | Africa, Books, France

The work of renowned Ivoirian playwright Koffi Kwahulé has been translated into some 15 languages...

Analog Virtual Reality Worlds of SIGNA Performance Group

Posted by Ágnes Bakk | 5th Sep 2017 | Festivals, Germany, Interview, Transmedia

Signa and Arthur Köstler are the creative directors of SIGNA, the well-known performance...

“Lions And Tigers” at Sam Wanamaker Playhouse

Posted by Aleks Sierz | 5th Sep 2017 | India, London, Review, Theatre and Politics, United Kingdom

Gandhi has a lot to answer for. I don’t mean the saintly campaigner for Indian independence, who...

Experimental Performances: Iraq Proves Perfect Setting For ‘Theatre Of The Oppressed’

Posted by Ahmad Thamer | 4th Sep 2017 | Iraq, Theatre and Politics

In Nasiriyah, a group of local actors have been using a special sort of open-air theatre to...

Can an English Artist Use Classical Nigerian Art as He Likes?

Posted by Kwame Opuku | 3rd Sep 2017 | Nigeria, Theatre and Art, Theatre and Decolonization

Reaction to Damien Hirst’s use/misuse of Ife art image. The insensitivity of many Westerners in...

Foreign Radical: The Intimate Power of Interactivity

Posted by Aida Rocci | 2nd Sep 2017 | Canada, Immersive Theatre, Transmedia

Please, take your laptops out of the suitcase. Liquids in a plastic bag. No belts. No shoes....

In Memoriam: Adel Hakim

Posted by Andrea Pelegri Kristić | 2nd Sep 2017 | Directing, Egypt, France

Adel Hakim was a French-Egyptian actor, playwright, pedagogue, and director. He was well-known for...

“The Maids”: A New Stage of Power and Performance

Posted by Cheng-Han Wu | 1st Sep 2017 | Taiwan, Translation

The Taiwan-based theatre troupe, Yang’s Ensemble, used to deal mostly with Sino-centric cultures...

A Place to Remember: “Oedipus – Those Who Want to See”

Posted by Kee-Yoon Nahm | 31st Aug 2017 | Adaptation, Participatory Theatre, South Korea, Theatre and Politics

It has only been one hundred days into President Moon Jae-In’s administration, but the new...

Iranian Theatre, Its Discontinuity and Discontent: An Interview with Amin Azimi, Part I

Posted by Marjan Moosavi | 31st Aug 2017 | Dramaturgy, Interview, Iran

Amin Azimi is an Iranian theatre researcher, dramaturg, translator, and director. He studied...

The Inability to Fill the Void: Eduardo Orozco’s “Asatia” at El Milagro Theatre

Posted by Margarita Vargas | 30th Aug 2017 | Mexico

Given that in Eduardo Orozco’s play, Asatia, the protagonist discovers that dedicating one’s...

Joe Orton’s “The Loot” Revived at Park Theatre

Posted by Aleks Sierz | 30th Aug 2017 | London, Review, Theatre and Politics, United Kingdom

Fifty years ago this month, playwright Joe Orton was murdered by his lover Kenneth Halliwell. His...

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Latest

Review: A Peek Inside Wig in a Box’s New Work-in-Progress

“Road” at The Royal Court

When Women Sing Their Stories

The Politics of Being Unaided: Act Alone Solo Performance Festival in Sudureyri, Iceland

Disabled Bodies in American Theatre

High Flying, Adored? When “Evita” Gets Whitewashed

We Can Know More Than We Can Tell: “L.I.F.E: A History of Distance”

Iranian Theatre, Its Discontinuity and Discontent: An Interview with Amin Azimi, Part II

“Seven Plays of Koffi Kwahulé: In and Out of Africa” Is Made Available To Anglophone Audiences

Analog Virtual Reality Worlds of SIGNA Performance Group

“Lions And Tigers” at Sam Wanamaker Playhouse

Experimental Performances: Iraq Proves Perfect Setting For ‘Theatre Of The Oppressed’

Can an English Artist Use Classical Nigerian Art as He Likes?

Foreign Radical: The Intimate Power of Interactivity

In Memoriam: Adel Hakim

“The Maids”: A New Stage of Power and Performance

A Place to Remember: “Oedipus – Those Who Want to See”

Iranian Theatre, Its Discontinuity and Discontent: An Interview with Amin Azimi, Part I

The Inability to Fill the Void: Eduardo Orozco’s “Asatia” at El Milagro Theatre

Joe Orton’s “The Loot” Revived at Park Theatre

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