“Full Moon” by Josef Nadj at the Festival of International Alternative Theatre (FIAT) in Montenegro
“By the term theatre we do not only mean its expressive linguistic side, but also the cultural,...
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Debating Identity: Is It Time to Rename Cairo’s Experimental Theater Festival?
The Cairo International Festival for Experimental Theater (CIFET) has long been a vital platform for the boundary-pushing theatrical voices in the Arab world, and beyond. Recently, debates have emerged over whether to keep “experimental” in its name, as the festival faces pressure to broaden its scope and attract wider audiences. The question now is how to balance honoring the festival’s experimental roots while evolving to meet the changing theatrical landscape of the 21st century.
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Conor McPherson’s “The Weir” at the Harold Pinter Theatre: Beautifully Acted Revival Of A 1990s New Writing Classic
Perhaps it’s an indicator of the feebleness of new writing after the pandemic that so many of the...
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Cruelty, Guilt, And Redemption Intertwine In “The Mutt” At IATI Theater
With minimal décor and symbolism in every gesture, The Mutt — an adaptation of Dostoevsky’s The...
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International Project – Dramaturgy Lab: Exploring West Balkan Plays – “Big Deal” By Mia Efremova
Collective interview with Amy Sze (Theatre maker and arts producer, London, UK-Hong Kong), Mia...
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Theatre Is A University, A Lifelong Study Of Human Nature
Interview with Sandra Gribovska Ilievska, theatre actress, Bitola, R. Macedonia Sandra Gribovska...
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Violence and Therapy: 29th International Shakespeare Festival in Gdańsk, Poland, 2025
The International Shakespeare Festival in Gdańsk is not the festival of masterpieces and it never...
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Lessing’s “Emilia Galotti” As Directorial Debut In Bremen
At German theatres, some assistant directors are employed for the duration of a production, from...
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Unbound Curation – The Freedom Of Programming Without Frames
An Interview with Mr. Guy Coolen, art director, producer, manager, Antwerp, Belgium/Rotterdam,...
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“Tired” Of Consuming Postdramatic Theatre (Contemporary Theatre Often Lacks Strong Dialogue)
An Interview with Ana Ristoska Trpenoska, a playwright, dramaturg, Vienna/Skopje, Austria/R.N....
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Shakespeare In The Park At The New Delacorte Theater: Love Is Gender Fluid
In a world where the rule is to make huge efforts to attain an “effortless, relaxed” look, the new...
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To Embrace Vulnerability As One Of My Greatest Strengths (Stronger, Braver, Vulnerable)
An Interview with wonderful talented actresses Jovana Miladinova, Skopje, R.N. Macedonia....
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Edinburgh Festival Fringe 2025 in 22 Shows
This year’s Edinburgh Festival Fringe was as sprawling and invigorating as ever, and expectedly...
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“When Billy Met Alasdair” At The Scottish Storytelling Centre, Edinburgh Festival Fringe 2025
Writer-actor Alan Bissett’s When Billy met Alasdair imagines what happened when Alasdair Gray...
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I Hold On To The Beautiful Side Of Theatre
Interview with theatre director Tamara Stojanoska, Skopje/Prilep, R.N. Macedonia. Interviewer...
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We Passed Through The Wall Of Sorrow Together
We are an avant-garde theatre group, and after our successful performance of The History Boys by...
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Edinburgh Festival Fringe 2025: Provisional Futures in a World on Fire
For the last thirty years of my attendance, the Edinburgh Festival Fringe has always been too big...
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German Summer Festival Theatre (2): Domfestspiele Verden, “Die Zündholzfrau”
In 1997, an association was founded in the German city of Verden on the river Aller, located...
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“No Apologies” by Emma Frankland, Edinburgh Festival Fringe 2025
Emma Frankland’s No Apologies achieves something genuinely rare: a radical reimagining that...
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“The Ego” by Anemone Valcke and Verona Verbakel, Edinburgh Festival Fringe 2025
Anemone Valcke and Verona Verbakel’s The Ego emerges from Ontroerend Goed’s theatrical...
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