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Brecht’s “Mother Courage” at Cairo’s Miami Theatre

Posted by Ahram Online | 9th Sep 2016 | Egypt, Review, Theatre and Politics

The play El-Om El-Shogaa (Mother Courage) opened in Miami Theatre in Cairo on 4 September. The...

South African Artist William Kentridge at The International Performance Festival Foreign Affairs in Berlin

Posted by Barbara Behrendt | 9th Sep 2016 | Festivals, Germany, Review

In July and August 2016, the international performance festival Foreign Affairs in Berlin, which...

Review: “Burning Doors”(Belarus Free Theatre) – “Incinerating The Line Between Performance And Real Life”

Posted by Kata Karah | 8th Sep 2016 | Belarus, Review

Incinerating the line between performance and real life, Belarus Free Theatre’s Burning Doors...

Thomas Manuel Wins The Hindu Playwright Award 2016 for His Play “Hamlet and Angad”

Posted by TheHindu.com | 8th Sep 2016 | India, News, Playwriting

Thomas Manuel was one of three shortlisted playwrights, the other two being Meera Sitharaman for...

Good Dramaturgy Is Invisible: Friedrich Schirmer, Marcus Grube & Judith Engel

Posted by Judith Engel | 7th Sep 2016 | Dramaturgy, Essay

What can good dramaturgy achieve? For the presentation of the Marie Zimmermann Fellowship for...

From China With Love: Tang Xianzu was the Shakespeare of the Orient

Posted by Mary Mazzilli | 7th Sep 2016 | China, Essay, Playwriting

In his 400th anniversary year, Shakespeare is still rightly celebrated as a great wordsmith and...

Talking Dramaturgy with Gareth Vile: Uncertainty, Confusion, Parody

Posted by Andrew Edwards | 6th Sep 2016 | Dramaturgy, Interview

Interview with Gareth Vile, Theatre Editor for the List, former Theatre Editor for the Skinny and...

London: Integrated Casting

Posted by Aleks Sierz | 6th Sep 2016 | London, News, Theatre and Politics, United Kingdom

It is sad to record that the main controversy provoked by this summer’s West End mega-hit, Harry...

The Problem of ‘Performability’ in Theatre Translation

Posted by Martin Boyd | 6th Sep 2016 | Essay, Translation

In her article, “Performability versus Readability,” Greek-Canadian translator and translation...

“(Dis)Individuation: (Dis)Concert for Bernard Stiegler” at The Carlos Alberto Theatre

Posted by José Eduardo Silva | 5th Sep 2016 | Portugal, Review

On March 10, 2016, in the Carlos Alberto Theatre (Experimental Theatre of the National Theatre of...

Mark Bly in conversation with Katalin Trencsényi: “Questioning Spirit”—Dramaturgy in America

Posted by Katalin Trencsényi | 5th Sep 2016 | Dramaturgy, Interview

Mark Bly is an American dramaturg, editor, and lecturer. He was the chair of the Playwriting...

Absurdist, Poignant Slapstick in “En Avant, Marche!”

Posted by Vanessa Tomlinson | 5th Sep 2016 | Australia, Review

David Berthold’s 2016 Brisbane Festival aims to connect artists and audiences in ways that disrupt...

Taiwanese Experimental and Queer Theater: Always Political, Always Queer

Posted by KaiChieh Tu | 4th Sep 2016 | Essay, LGBTQ+ Theatre, Taiwan

Taiwan is currently celebrating vibrant queer scenes (one of the biggest Pride in Asia) and a...

An Actor’s Future-Not Even Television Will Save Them

Posted by Manuel de Loren | 4th Sep 2016 | Acting, Essay

In Spain, as everywhere, working in your trade—and not any other area—is not easy for everyone. Only forty-six actors and actresses out of a hundred could find work between 2014 and 2016. And almost a third of the acting professionals live under the poverty threshold and almost two thirds move between meager and just decent earnings.