Latest Archives - Page 3 of 278

“Trilogia Cadela Força – Capítulo II: The Brotherhood.” Review. Holland Festival 2025.

Posted by Jenny Strataki | 6th Aug 2025 | Holland Festival 2025, Netherlands, Review

My colleague Jonathan and I were walking towards Leidseplein and the Internationaal Theater...

“From Dust.” Another Review. Holland Festival 2025.

Posted by Róisín Daly | 6th Aug 2025 | Holland Festival 2025, Netherlands, Review, Theatre and AI

Stepping into From Dust feels less like attending a performance and more like consciously entering...

“From Dust.” Review. Holland Festival 2025.

Posted by Javad Mohajeri | 6th Aug 2025 | Holland Festival 2025, Netherlands, Review, Theatre and AI

Arrival and Anticipation On Thursday, June 19, I participated in Michel van der Aa’s From Dust....

“Welcome to Asbestos Hall.” Review. Part II. Holland Festival 2025.

Posted by Unnur Hlíf Rúnarsdóttir | 6th Aug 2025 | Holland Festival 2025, Netherlands, Review

For Part I of this review, go here. Yet again, I find myself at the edge of Amsterdam, at the...

“Welcome to Asbestos Hall.” Review. Part I. Holland Festival 2025.

Posted by Unnur Hlíf Rúnarsdóttir | 6th Aug 2025 | Holland Festival 2025, Netherlands, Review

It is the third day of the Holland Festival, and I make my way to what feels like the edge of...

“Swan Song”: Between Prophecy and Epitaph

Posted by Emiliia Dementsova | 5th Aug 2025 | Adaptation, Azerbaijan, Review, Theatre and Politics

A provincial theatre celebrates an anniversary. In the dressing room — two men: a comic and a...

Mark Rosenblatt’s “Giant” in Barcelona

Posted by Maria Delgado | 5th Aug 2025 | Festivals, Review, Spain

The first new production of Mark Rosenblatt’s Olivier-award-winning Giant since its London...

Who’s Afraid of the Public? Reports from the Daehangno X Forum on the Shut-Down of TheatreIn

Posted by Soo Ryon Yoon | 4th Aug 2025 | Featured, Management, News, South Korea, Theatre and Gender, Theatre and Politics

“Can we just disband the Seoul Foundation for the Arts and Culture entirely and start over?” A...

Decolonizing Iraqi Theatre: Why We Need to Stop Quoting the West

Posted by Amir Al-Azraki | 3rd Aug 2025 | Essay, Iraq, Theatre and Decolonization

Inherited Voices: A Theatre of Borrowed Authority Recently, I’ve found myself drawn to a popular...

Jake Brunger’s Four Play at the King’s Head Theatre: Delicious Mix Of Laughter And Provocation In A Sex Comedy Of Manners

Posted by Aleks Sierz | 2nd Aug 2025 | London, Review, United Kingdom

Is there such a thing as the seven-year itch? Named after Billy Wilder’s 1955 comedy, which...

Between Life And Death: A Festival’s Journey Through Tragedy [Part II]

Posted by Savas Patsalidis | 1st Aug 2025 | Bulgaria, Festivals, Transcultural Collaborations

To read PART I of this report, go to this link. Two “in yr face” Tragedies: Double...

Between Life And Death: A Festival’s Journey Through Tragedy [Part I]

Posted by Savas Patsalidis | 1st Aug 2025 | Bulgaria, Festivals, Transcultural Collaborations

We each owe a Death Johannes von Tepl, Death and the Ploughman [ Der Ackermann und der Tod, 1401 ]...

An Exploration Through The Convoluted Layers Of “Blind Runner”

Posted by Mona Mirzaei | 30th Jul 2025 | Review, Theatre and Politics, United States of America, Worldwide

Blind Runner, the latest play by Amir Reza Koohestani, was performed from January 4 to 24, 2025,...

Mark St Germain’s “Dancing Lessons” At Boulevard Münster In The Context Of The Ongoing Comedy Theatre Tradition In Germany

Posted by Daniel Meyer-Dinkgräfe | 28th Jul 2025 | Germany, Management, Review

Germany’s theatre landscape is very rich indeed. Many cities have publicly owned and funded...

Ambiguous Space: A Review of the Chinese Play “L’histoire d’un Accident” at Avignon 2025

Posted by Xunnan Li | 26th Jul 2025 | Avignon 2025, China, Chinese Theatre Abroad, Design, Review

Feng Lu’s “L’histoire d’un Accident”, presented in Avignon 2025, offers a layered exploration of theatrical space inspired by Henri Lefebvre’s theory of spatial production. The play unfolds through a play-within-a-play structure, blending backstage conflict, parody, and audience disruption to challenge the boundary between fiction and reality. A planted “spectator” blurs the line between performance and life, turning spatial ambiguity into a central aesthetic strategy. Rather than seeking clarity, the production invites audiences to dwell in uncertainty, where ambiguity becomes an essential part of how space is experienced, performed, and emotionally understood.

Chinese Traditional Theatre in the UK: Interview with Joanna Zenghui Qiu on the 10th Anniversary of the UK Chinese Opera Association

Posted by Xunnan Li | 24th Jul 2025 | China, Chinese Theatre Abroad, News, Theatre and Opera

In 2025, the UK Chinese Opera Association marks its 10th anniversary, celebrating a decade of bridging tradition and innovation in Chinese opera. Founded by Joanna Zenghui Qiu, a former performer with the Mei Lanfang Opera Troupe, the Association has become a cornerstone of Chinese cultural life in the UK. Inspired by her lead performance at the British Museum’s first Chinese New Year event during the 2015 UK-China Year of Cultural Exchange, Qiu established the Association to preserve and promote Chinese opera on British soil. Through performances at venues such as Buckingham Palace and grassroots programs like “Chinese Opera Fans’ Home” the Association has flourished as both an artistic platform and a diasporic community hub.