“The Prom”: The Challenges of Adapting The Stage to The Screen
There is growing excitement for the star-studded release of the Netflix film adaptation of the...
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Experimental Forms and Performative Research: When the Classroom Learns to Fly
In his 1993 work A Flying Classroom, the German author Erich Kästner created a vision of a...
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Vsevolod Meyerhold: The Revolutionary Communist Director Executed By Stalin
Vsevolod Meyerhold was a personality of great contradictions, and one of the movers and shakers in...
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Transnational Chinese Theatres in Pandemic Times
I have hesitated for a while to engage with the increasingly ubiquitous “[insert own subject...
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Philip Ridley’s “The Poltergeist” at the Southwark Playhouse: High-Powered Tour de Force
Playwright Philip Ridley has had a very productive lockdown. Despite the constraints of the...
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Perspectives on the Internationalization of Theatre: An Interview with Thomas Irmer
Thomas Irmer is a scholar, dramaturg, and critic regularly contributing to Theater der Zeit,...
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Performance Pugilism in the Pandemic – The Social Distance Showdown
The first Social Distance Showdown International Virtual Stage Combat Workshop took place on May...
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Interview: Disabled Artists Reinterpreting the Wellcome Collection
From ancient tattooed skin to dental mouth gags, Unlimited’s latest collaboration with the...
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The Art and Skills of Theater Festival Selections: An Interview with Slobodan Savic
Slobodan Savić (born in Požarevac in 1964) is an author, theatre critic, writer, and journalist....
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Experimental Forms and Performative Research: Creating a Language For and With Young Audiences
The Slovak National Theatre generally stages the major classics, adaptations of novels, and...
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Cambodia is an Inspiration for the Healing Power of Art After a Crisis
Even though history has seen different disasters and humanitarian crises, one fact remains: we try...
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Experimental Forms and Performative Research: How to Develop Games in (a) Theatre?
First things first: Be aware of the problems you create for the audience, a.k.a. the player, and...
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Avignon 2020 Announces its Program: The History of Theaters Rethought Within the Framework of New Partnerships
IRET days in Avignon Biannual event since 2015 bringing together IRET researchers, doctoral...
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Privileges of the Imagination
When, nearly three years ago, I wrote about the first Teatroteka (Didaskalia, No. 142), I looked...
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On Screen And On Stage, Disability Continues To Be Depicted In Outdated, Cliched Ways
The #MeToo and Black Lives Matter movements have forced Hollywood and other artists and filmmakers...
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“Keely and Du” at The Seeing Place
Keely and Du, Jane Martin’s seminal work from 1993, is a piece often touted for its emotional...
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New European Drama Repertory for Young People: Surface Chat or Silent Depth
Weöres Sándor Színház (WSSZ) joined the Age of Rage project group within Young Europe III and,...
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Contemporary Performing Arts Festival Stays Open to New Possibilities Despite COVID-19
Maybe 13 is an unlucky number? Contemporary theater’s annual Festival/Tokyo is known for its focus...
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Adapting Tarots in Performance: LipZinc’s “Talking Tarots”
In his very famous book The Castle of the Crossed Destinies (Il castello dei destini incrociati,...
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Ghana’s Politics Has Strong Ties with Performing Arts: This is How it Started
Towards the end of the Kwame Nkrumah era in 1966, a number of highlife artists wrote songs...
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