Korean Theatre in the First Half of 2016: New Works
Compared to productions of Western or Korean classics, Broadway revivals or original musicals,...
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Playwriting
Playwriting In Australia
The first Australian National Playwrights Centre (ANPC) was founded in 1973 – the age of bongs,...
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Lost Translations: What We Lose by Ignoring Plays That Aren’t in English
Bojana Janković calls out British theatre’s extreme reluctance to stage plays that...
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Russian Comedies Shake Up UK Theaters
British stages have long been in love with Anton Chekhov and Nikolai Gogol, but there is...
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“Fascinating Inharmoniousness” With Playwright Anna Gschnitzer
College of inspiration from playwright Anna Gschnitzer’s desk. Do plays require a different...
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Zainichi Dramas Delve Into Japan’s Shadows
“At last, the masterpiece Yakiniku Dragon (Korean Barbecue Dragon) is going to be staged again!”...
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“King Lear” Reincarnates As Geoffrey Rush–It’s A Bloody Tragedy
In one sense every play staged is a play for its times. Something about it attracts, provokes or...
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John Freedman on New Russian Drama
Aleena Karim interviews John Freedman, an acclaimed American critic, translator and playwright, on...
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Playwriting Doesn’t Get Better Or Worse–But It Does Evolve
This is a long-read essay, the third in a series on playwriting and drama by Julian Meyrick. Read...
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Need A Stage Coach? Why Some Plays Work, And Others Don’t
We all know whether a given play, film or TV drama “works” or not, but it’s often difficult to...
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Western Sydney Meets The City In Nakkiah Lui’s “Kill The Messenger”
Last week I went to the theatre. Unusual? No. But I say this because this event was real theatre...
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The Profound Effect of Russian Plays on Nicola McCartney
This is the second installment in John Freedman’s TheaterPlus video blog, which now appears...
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Sasha Dugdale Recalls the Origins of New Drama in Russia
Back when I used to publish a blog called TheaterPlus on the website of The Moscow Times, I would...
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Ulrike Syha Interviews Dominique Dolmieu
Ulrike Syha: When was Eurodram, a network for drama in translation, founded? What was the initial...
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Amanda Macri on the Need for Storytellers: New Playwriting in Australia
Amanda Macri, General Manager at Playwriting Australia, writes about the broad range of resilient...
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Spanish Playwright Jose Padilla Never Surrenders
José Padilla is one of the brightest lights in the Spanish theatre right now. Amongst his...
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Interview with Spanish Playwright Antonio Rojano
Antonio Rojano is a self-taught playwright, and he is well-taught! He has won almost every main...
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We Need Language To Shock: Why “The Sublime” Gets Rape Wrong
Here are two opposing definitions of rape: Rape: a violent, criminal act almost exclusively...
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“(A)pollonia: Twenty-First-Century Polish Drama And Texts For The Stage”
In her Preface to (A)pollonia: Twenty-First-Century Polish Drama And Texts For The Stage Joanna...
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Natal’ya Vorozhbit’s “Voices Of The Uprising”
Before Maidan events faded from people’s memories, playwright Natal’ya Vorozhbit brought the...
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