Acting Archives - Page 8 of 11

Through A New Zealander’s Eyes: The Subjunctive World, Notes From Venice Beach

Posted by Hilary Halba | 21st Jun 2018 | Acting, Essay, New Zealand, United States of America

After a thirteen-hour flight from Auckland, New Zealand, I am in Jim Morrison country–or so I...

Arlecchino Servitore Di Due Padroni: Seventy Years Of Strehler (And Counting)

Posted by Davide Cioffrese | 8th Jun 2018 | Acting, Essay, Italy

It is not easy to approach a work such as Giorgio Strehler’s Arlecchino Servitore Di Due...

“The Glass Menagerie” – Purely Theater Poesy

Posted by Lorena Meeser | 3rd Jun 2018 | Acting, Mexico, Review

The Glass Menagerie is a masterpiece work of Tennessee Williams, it is a jewel of world...

Brian Friel’s “Translations” At The National Theatre: Four Stars

Posted by Aleks Sierz | 2nd Jun 2018 | Acting, London, Northern Ireland, Playwriting, Review, United Kingdom

Since the Northern Irish playwright’s death in 2015, Brian Friel’s work is rarely sighted in...

Practiced Empathy and Awareness with Atlantic Pacific Theatre

Posted by Marcina Zaccaria | 30th May 2018 | Acting, Applied Theatre, New York, Participatory Theatre, Philippines, Review, Transcultural Collaborations, United States of America

Atlantic Pacific Theatre challenged their regular audience with a diptych, part process theater,...

Elizaveta Boyarskaya: Acting And Directing Is More Than A Job—It Is A Mission

Posted by Irene Kukota | 29th May 2018 | Acting, Directing, Interview, Russia, Russian Theatre Abroad, Translation

Following the premiere of Vassily Grossman’s Life And Fate at the Theatre Royal Haymarket on May...

Sergey Kuryshev: This Means Figuring Out Our Life And Presenting It On The Basis Of The Classic Text

Posted by Irene Kukota | 24th May 2018 | Acting, Interview, London, Russia, Russian Theatre Abroad, United Kingdom

Tonight is the opening night of Uncle Vanya at the Theatre Royal Haymarket, In anticipation of the...

Cross-cultural Encounters In World Theatre: Bertolt Brecht, The “Alienation” Effect And Chinese Drama

Posted by Letizia Fusini | 20th May 2018 | Acting, China, Essay

The German playwright and drama theorist Bertolt Brecht (1898-1956) is particularly famous for...

Ella Hickson’s “The Writer” at The Almeida Theatre

Posted by Aleks Sierz | 17th May 2018 | Acting, London, Review, Theatre and Gender, Theatre and Politics, United Kingdom

Is there such a thing as female writing? In the 1980s, a group of women writers emerged who...

“Nine Night” at The National Theatre: The Play About Grief

Posted by Aleks Sierz | 16th May 2018 | Acting, London, Playwriting, Review, United Kingdom

The good news about so-called black drama on British stages is that it has broken out of its...

“Absolute Hell” at The National Theatre

Posted by Aleks Sierz | 14th May 2018 | Acting, LGBTQ+ Theatre, London, Playwriting, Review, Theatre and Politics, United Kingdom

Rodney Ackland must be the most well-known forgotten man in postwar British theatre. His legend...

An Actor’s Guide To Playing God

Posted by Parshathy J. Nath | 14th May 2018 | Acting, Festivals, India

Mugamudigal, a city-based theatre group, gives lovers of the medium a chance to learn the ancient...

Natasha Marshall’s “Half Breed” at The Soho Theatre

Posted by Aleks Sierz | 12th May 2018 | Acting, London, Review, United Kingdom

In the 2000s one of the many glories of new writing for British stages was the linguistically...

“SeagullMachine” – The Assembly Mixes Chekhov and Müller

Posted by Heather Waters | 5th May 2018 | Acting, New York, Review, United States of America

The lights never go down on the audience, the result being we all play a part in the production, and there are no spectators. La MaMa E.T.C. is a beautiful, decrepit, wonderfully haunted space; to redefine audience roles and do away with spectators is an adventurous, fun design for this stage.