The Toronto Theatre Laboratory
Art Babayants, of Armenian origin, has a doctorate in theatre performance, he taught acting in the...
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Theatre and Politics
This Odia Theatre Group Cycles From Village to Village for Stories
Members of theatre group Natya Chetana travel to villages teasing out stories from the everyday...
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Staging the Political
With its three transformable stages, the “Schaubühne at Lehniner Platz” is the largest theatre in...
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Simple As ABC #3: The Wild Hunt – Thomas Bellinck/ROBIN
A bust of Aristotle stares out at the audience. A vaguely Romantic-style landscape depicting men...
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“ANNA” at The National Theatre
Stasiland is a fascinating mental space. As a historical location, the former East Germany, or...
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Sachli Gholamalizad’s “Let us believe in the beginning of the cold season”: Iranian Identity in an Age of Diaspora
I can give two accounts of Sachli Gholamalizad’s solo performance Let us believe in the beginning...
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Julia Pascal’s “Blueprint Medea” at The Finborough Theatre: Mythical Reboot
The rewriting of Ancient Greek myth offers a way of creating contemporary stories that have a deep...
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salt. at The Royal Court
A hit of the Edinburgh Fringe 2017, Selina Thompson’s one-woman show salt is on at the Royal Court...
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“We Live in Cairo:” Fully Committed, Still in Beta-Testing
We Live in Cairo, a new musical written by brothers Daniel Lazour & Patrick Lazour, directed...
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Review: “Scenes from 71* Years” by Hannah Khalil
Scenes from 71* Years is a play of remembrance showing a diasporic perspective on the Palestinian...
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Ella Hickson’s “ANNA” at The National Theatre
Something is tantalizingly amiss at the National’s Dorfman Theatre. There is a headset attached to...
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In Black Swan’s “Water” – Three Vignettes Explore the Politics of Immigration, Drought and Family Dynamics
Review: Water, Black Swan, Perth. Water, written by Jane Bodie and directed by Emily McLean, was...
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Russia Meets Iran: J’afari, Vișniec and Meyerhold, Partners of Ideology, Traversers of History
Read Farinaz Kavianifar’s interview with Rūhollah J’afari. On the evening of August 3, 2018,...
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Self-Censorship Is a Castration of Ideas: A Conversation with Ruhollah J’afari, Dramaturg and Director of the Play Richard III Will Not Take Place
Also, about this production, read “Russia Meets Iran: J’afari, Vișniec, and Meyerhold,...
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Staging The Present Moment: International Festival of Iberian Expression Theatre
FITEI – International Festival of Iberian Expression Theater, taking place in Porto, Portugal,...
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AVLAIA: Dropping and Opening the Curtain to the Future of Europe
In the theatre, the front curtain is drawn open from both sides of the proscenium to reveal a...
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What Schreck’s Endings Mean To Me
Lately, whenever people ask for advice on what theater to see in New York, the show I’ve mentioned...
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Comedy In The Time Of #LokSabhaElections2019
As political humor becomes more accessible, so do the repercussions of having an opinion in the...
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The Structure Of The Arts And Culture Industry In Zimbabwe
In the last nine years, at various forums initiated either by government agents such as National...
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“Pah-La” at The Royal Court
Theatre can give a voice to the voiceless — but at what cost? Abhishek Majumdar, who debuted at...
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