La Vie En Sickly Rose: Florian Zeller’s “The Son” at the German State Theatre
The entire stage is the same shade of pale, dusty pink: the extra-long couch and side tables, the...
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Theatre and Politics
On State Theatres and Minoritarian Theatres: Interview with Andrea Wolfer, Head of the Dramaturgy and PR Department of the German State Theatre in Timișoara, Romania
How is the German State Theatre different from other Romanian public theatres? Last year, when...
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Mark Rosenblatt’s Giant at the Royal Court: Provocative Drama About Anti-Semitism Is A Superb Play Of Ideas
Roald Dahl evokes mixed feelings. He’s one of the greatest children’s storytellers, whose macabre...
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Report From The Underground: A New Iranian Theatre
For many Iranians, the contemporary history of the country is divided into before and after...
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Timberlake Wertenbaker’s “Our Country’s Good” at the Lyric Hammersmith: Slightly Updated Classic Grounded by an Awkward Production
Although the idea of deporting people to Rwanda as a punishment is now, following the defeat of...
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Tom Stoppard’s The Real Thing at the Old Vic: Spirited and Highly Enjoyable Revival of Semi-Autobiographical Love Drama
Adultery is the great staple of modern British playwriting. The anguish of marriage, and the...
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Contemporary Transnationalism Theatre in China: Theatre Review of “Apple Tree” directed by Feng Lu
In 2024, National Theatre of China in Beijing showcased an experimental avant-garde theatre work “Apple Tree” to talk about the tension in the contemporary marriage between a young Chinese couple. Their tension in the marriage was reflected when the wife is suffering from the unexpected miscarriage.The play is such a transnational one. The director Feng was educated in France when he was young, with established exposure to the French film and theatre. In this play and his previous productions, there are huge amount of Roland’s style of using montage and space changing.
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Acting As Social Practice: Theater As A Tool To Initiate Dialogue In A Hyperdiverse Immigration Society
Artistic practice, which allows for the creation and re-creation of social spaces as testing...
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Dialoguing With The Classics In Madrid: “La Fortaleza/The Fortress” And “Macho Grita/Alpha Male Shouts”
Twenty-first-century theatre practitioners in the west typically fear irrelevance more than...
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“Wine & Halva:” Post-Migration And The Limits Of Western Liberalism
It is May 4, 2024, in Montreal, and I walk on Rue Bélanger as the night is approaching on this...
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Wajdi Mouawad’s “Littoral”: Searching for Peace Through the Devastation of War
Sejong Center for the Performing Arts (artistic director, Sun-Woong Koh) staged the play Littoral...
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Miss Julie: Amy Ng Brings A “Problem Play” To Hong Kong
Amy Ng has a problem. The Hong Kong-raised, London-based playwright is holed up in a Causeway Bay...
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Make Your Classroom Multilingual: On Training Students For Rapidly Changing Cultural Landscapes
How do we train students to work within rapidly changing landscapes and for a theatre of the...
Read More![Medea as a Border-Body [Part I]](https://thetheatretimes.com/wp-content/uploads/2024/06/Image-2-627x376.jpg.webp)
Medea as a Border-Body [Part I]
Perhaps the 2024 production of La MaMa’s Medea, under Zishan Ugurlu’s direction and reimagining,...
Read MoreMedea as a Border-Body [Part II]
To read PART I of this essay, go to this link. The snake that Medea uses to make her...
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Theatre Has Gone Underground in Kharkiv – Literally. An Interview with Ukrainian Playwright and Theater-maker Dmytro Ternoviy. Part 1.
I first encountered Dmytro Ternoviy through my Worldwide Ukrainian Play Readings project. His...
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Theatre Has Gone Underground in Kharkiv – Literally. An Interview with Ukrainian Playwright and Theater-maker Dmytro Ternoviy. Part 2.
This is Part 2 of the interview with Dmytro Ternoviy. For Part 1, go here. Dmytro Ternoviy’s...
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New Play “American Signs” Looks At The Nefarious World Of Consultancies – But Leaves Australia Off The Hook
Anchuli Felicia King’s new one-performer piece, American Signs, written for the talented Catherine...
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“The Constituent,” Old Vic
Good timing — as the UK’s general election campaign goes into its final week, this large-scale...
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Ali Asghar Dashti & Nasim Ahmadpour – “We Came To Dance” (Kunstenfestivaldesarts)
“Can we fundamentally give a dancer an order to stop moving? […] Is dance not defined as the...
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