Latest Archives - Page 221 of 279

“Fiddler On The Roof” at The Chichester Festival Theatre

Posted by Bernadette McNulty | 22nd Jul 2017 | Festivals, Musical Theatre, United Kingdom

If the choice of a female Doctor Who still has the power to shock and challenge, then we have not...

Avignon: Symphonies of Pain Part I – Dorothée Munyaneza’s “Unwanted”

Posted by Yana Meerzon | 22nd Jul 2017 | Festivals, Rwanda, Theatre and Gender, United Kingdom

My journey through the Festival d’Avignon this year (20171) has just begun, but I have already...

Part 2: Part Fantasy, Part Declaration of Sovereignty: A Review of the Canadian Opera Company’s Production of “Louis Riel”

Posted by Adam Gaudry | 22nd Jul 2017 | Canada, Theatre and Opera

Click here to read Part I Riel’s real purpose in the opera is not to stand up for his people as...

“Fanny and the Admiral:” A Quasi-Metaphorical Scene of the Ideological Fissure in Argentine History and Politics

Posted by Lola Proaño Gomez | 22nd Jul 2017 | Argentina, Theatre and Politics

Fanny and the Admiral, written by Luis Longhi, premiered in 2016 at La Máscara Theatre, Buenos...

Between Local and Global: Artistic programming and “glocal” challenges (Part 2/2)

Posted by Szabolcs Musca | 21st Jul 2017 | Management, Participatory Theatre, Portugal

Szabolcs Musca in conversation with Mark Deputter, Artistic Director of Teatro Maria Matos, Lisbon...

“Octavia. Trepanation” – New Opera About Russian Revolution

Posted by Constant Meijers | 21st Jul 2017 | Review, Russia, Theatre and Opera

The world premiere of Octavia. Trepanation was highly anticipated by the Dutch audience at Holland...

Contemporary Ukrainian Dramaturgy: Challenging Audience, Changing Theatre

Posted by Oksana Dudko | 20th Jul 2017 | Documentary Theatre, Dramaturgy, Ukraine

During the post-Soviet period, Ukrainian dramaturgy lagged behind prose and poetry and was almost...

Part 1: Part Fantasy, Part Declaration of Sovereignty: A Review of the Canadian Opera Company’s Production of “Louis Riel”

Posted by Adam Gaudry | 20th Jul 2017 | Canada, Theatre and Opera

Taking my seat at the Four Seasons Centre for the Performing Arts, to watch the 2017 debut of the...

Hypermobility: Calder at the Whitney Museum

Posted by John Tilley | 20th Jul 2017 | New York, Theatre and Art, United States of America

What is it about Alexander Calder’s mobiles that make them so ineffably charming? Is it the clever...

Satoshi Miyagi Makes History on a Stage in France with “Antigone”

Posted by Nobuko Tanaka | 19th Jul 2017 | Adaptation, Festivals, Japan

The government’s Cool Japan initiative may be focused on spreading anime around the world, but...

Law Wing-fai’s Atmospheric Music Theatre, “Beyond the Senses,” Staged in London

Posted by Michael Ka Chi Cheuk | 18th Jul 2017 | China, Chinese Theatre Abroad, Hong Kong, Review, Theatre and Opera, United Kingdom

Readers who are familiar with Hong Kong’s New Wave cinema would not be strangers to Hong Kong...

Revisited 27 Years Later, “Weed” Plays as an Astute Critique of Neoliberal Economics

Posted by John Smythe | 18th Jul 2017 | New Zealand, Theatre and Politics

Revisited 27 years later, Weed plays as an astute critique of neo-liberal economics.

How Can Digital Technology (Help) Attract New Audiences?

Posted by Maren Day | 18th Jul 2017 | Germany, News, Theatre and Science

The Field Survey, Part 3: Opening Up Reaching and attracting new audiences with the help of...

An Interview With Dima Levytskyi, Post-Dramatic Writer

Posted by Anastasiia Gaishenets | 17th Jul 2017 | Interview, Playwriting, Ukraine

Theatrical season of 2016-2017 finally brought post-dramatic theater to Ukraine. With a...

In Conversation With Rithisal Kang About Amrita Performing Arts In Cambodia

Posted by David Fernández | 17th Jul 2017 | Cambodia, Interview, Management

ASEF culture360 contributor David Fernández talks with Executive Director Rithisal Kang about the...

“Instructions For American Servicemen In Britain” Is A Humorous Collection Of Sketches

Posted by Aleks Sierz | 17th Jul 2017 | Review, Theatre and Politics, United Kingdom

We’re familiar, perhaps too familiar, with the image of Dad’s Army, gamely tramping down the...

“Gutless & Grateful” Tells The Tale Of Losing A Stomach And Gaining A Story

Posted by Amy Oestreicher | 17th Jul 2017 | New York, Theatre and Disability, United States of America

I grew up thinking my life was a musical. Call it the “theatre bug,” call me a “drama queen” or a...

What Is the Price of Surrogacy? Vivienne Franzmann’s “Bodies” at The Royal Court

Posted by Aleks Sierz | 16th Jul 2017 | London, Review, Theatre and Gender, United Kingdom

Surrogacy is an emotionally fraught subject. And one that is pregnant with meaning. The...

Out of the Wings Brings Hispanic and Lusophone Theatre to London Audiences

Posted by Catherine Boyle | 16th Jul 2017 | Producing, South America, Spain, Translation, United Kingdom

Following its second annual week of play readings from the Spanish- and Portuguese-speaking world,...

Kiosk X / Festival of New Slovak Theater and Dance

Posted by Milan Zvada | 16th Jul 2017 | Slovakia, Theatre and Dance

The summer festival of the “different” Slovak theater and the bold spectator. The...

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Latest

“Fiddler On The Roof” at The Chichester Festival Theatre

Avignon: Symphonies of Pain Part I – Dorothée Munyaneza’s “Unwanted”

Part 2: Part Fantasy, Part Declaration of Sovereignty: A Review of the Canadian Opera Company’s Production of “Louis Riel”

“Fanny and the Admiral:” A Quasi-Metaphorical Scene of the Ideological Fissure in Argentine History and Politics

Between Local and Global: Artistic programming and “glocal” challenges (Part 2/2)

“Octavia. Trepanation” – New Opera About Russian Revolution

Contemporary Ukrainian Dramaturgy: Challenging Audience, Changing Theatre

Part 1: Part Fantasy, Part Declaration of Sovereignty: A Review of the Canadian Opera Company’s Production of “Louis Riel”

Hypermobility: Calder at the Whitney Museum

Satoshi Miyagi Makes History on a Stage in France with “Antigone”

Law Wing-fai’s Atmospheric Music Theatre, “Beyond the Senses,” Staged in London

Revisited 27 Years Later, “Weed” Plays as an Astute Critique of Neoliberal Economics

How Can Digital Technology (Help) Attract New Audiences?

An Interview With Dima Levytskyi, Post-Dramatic Writer

In Conversation With Rithisal Kang About Amrita Performing Arts In Cambodia

“Instructions For American Servicemen In Britain” Is A Humorous Collection Of Sketches

“Gutless & Grateful” Tells The Tale Of Losing A Stomach And Gaining A Story

What Is the Price of Surrogacy? Vivienne Franzmann’s “Bodies” at The Royal Court

Out of the Wings Brings Hispanic and Lusophone Theatre to London Audiences

Kiosk X / Festival of New Slovak Theater and Dance

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