Uruguay Feminist Drama: Marianella Morena’s “I Will Bear No Child, I Will Bear Verses”
Delmira Agustini (1886–1914), one of the most important Uruguayan poets, was assassinated by...
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The Great Australian Plays: “The Torrents,” “The Doll” and The Critical Mass of Australian Drama
In 1955, two plays, The Torrents by Oriel Gray and Summer of the Seventeenth Doll by Ray Lawler,...
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Yury Butusov’s “Drums in the Night” at the Pushkin Theater
Yury Butusov premiered his new production of Brecht at the Pushkin Theater, which is fated to...
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The Sultan Padamsee Award Returns To Celebrate Indian Theatre
After over two decades, the Sultan Padamsee Award has been revived to discover fresh narratives in...
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The American Tour Of Contemporary Romanian Female Artists: Empowering Women
On the nights of November 18 & November 20, 2016, at Here Arts Centre, NYC, I was being...
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London Theatre Company Brings Translators Centre-Stage
There are plenty of theatre translators who start out as actors, directors, playwrights or other...
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Political Adaptations: Raleigh Literary Society’s “Waiting for Godot” and “Hayadavana”
In his institutional history of literature in American colleges and universities, Gerald Graff...
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Poland On Stage: What, When, and Where
Warsaw, The Centrala Theatre/Zachęta, National Gallery of Art: Orestes, directed by Michał Zadara...
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Takarazuka Revue: Japanese All-Female Musical Theater Troupe
Nothing’s clear-cut at Japan’s Takarazuka Revue, arguably one of the world’s largest all-female musical theatre groups. The women who portray male roles in the Revue’s repertoire must maintain a semblance of “maleness” off-stage as well, the “off” boundaries being far away from the theatre environs.
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On Festivals: Curatorial Thought in Process
The curator’s role in the performing arts area seems to be, for many—including the curators...
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Budapest National Theatre’s Production of “The Boy Who Turned Into a Deer” Shown in Paris
The joint performance of Budapest National Theatre and Illyés Gyula Theatre from Beregszász, A...
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Sonorous Dramaturgy: Part I
Sonorous dramaturgy, a term borrowed from Eugenio Barba’s On Directing and Dramaturgy: Burning the...
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Anatomy of a Clown in Applied Theatre: From War-Torn Countries to Children Museums
“Laughter is the brush that sweeps away the cobwebs of your heart.” – Mort Walker,...
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Song of the Goat Sings the Tragedy of Cordelia in “Songs of Lear”
Devising their works in a 13th-century refractory and former monastery in Wrocław’s Old Town, Song...
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Remembering Italian Theatre Master Gerardo Guerrieri: A Stage Full of Dreams
Thirty years ago, on 24th April 1986, Gerardo Guerrieri died in Rome. He was one of the most...
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New US Theatre Translation Network Goes Online
A network of US-based theatre translators that has been developing over several years recently...
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The Latin American Center for Creation and Theatrical Research (CELCIT)
The Latin American Center for Creation and Theatrical Research, CELCIT (www.celcit.org.ar) was...
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The Great Australian Plays: Speaking ‘Orstyrlian’ in “Rusty Bugles”
Rusty Bugles is a comedy-drama by Sumner Locke Elliot, one of the many talented writers to abandon...
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A Conversation With Katie Day on Theatre, Big Data, and Narrative Design
A conversation with Katie Day (founder and artistic director of The Other Way Works company) about...
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On Audience Outreach and Gaming: Conversation With Kirsty Sedgman
Kirsty Sedgman‘s background is in performance studies, which, according to her, tends to make big...
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