“Penelope Sleeps” – Mette Edvardsen & Matteo Fargion
Penelope Sleeps begins in medias res. Three performers, lying as though dead onstage, and a small...
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Transcultural Collaborations
Toronto Laboratory Theatre: “In Sundry Languages” – Creating New Identities Through Collaborative Devising In Many Languages!
Art Babayants is a performer and the Artistic Director of the Toronto Laboratory Theatre, working...
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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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Shakespeare and Asia
When a weary Egeon laments in the first scene of The Comedy of Errors that in quest of his lost...
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The Immigrant Dragons, Part IV: Generations United in Bendigo
Back home in Australia, the world’s largest imperial dragon joins his predecessors – and so...
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Jayachandran Palazhy on Contemporary Art Forms
International movement artist Jayachandran Palazhy feels that despite their so-called abstract...
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It’s Shakespeare’s “Hamlet,” But Not As You Know It
With praise for his Hamlet with the Royal Shakespeare Company in 2016 still ringing in his ears —...
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Prague Quadrennial 2019: Imagination, Transformation, Memory
This summer, a wonderful artistic tradition will return to the city of Prague, as the Czech...
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Absurdist Comedy “Every Good Boy Deserves Favour” Gets Its Japan Debut
Tom Stoppard is one of the most influential figures in theater today and one of the most...
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ETC and Ukrainian Theatre: A Dialogue of Art, Change, and Support
As a mid-December snow fell over the city of Kyiv, Ukraine, the European Theatre Convention...
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The Immigrant Dragons – Part III: Creating A Dragon That Will Last 100 Years
Under a busy flyover where the Island Eastern Corridor becomes Chai Wan Road sits an unassuming...
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The Immigrant Dragons–Part II: On The Hunt For The Right Master
For 126 years, the small Australian city of Bendigo has embraced Chinese dragons. This year, their...
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Yngvild Aspeli’s “Ashes”: Puppets That Haunt And Kindle
When does desire give way to fixation, compulsion, addiction? In Yngvild Aspeli’s exquisite show...
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Get Out Of The Box: New Business Models And International Co-Operation
The European Theatre Lab (ETL) is an international co-operation that brings together several...
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In “Kwongkan,” Indian And Australian Performers Convey An Urgent Climate Change Message
Review: Kwongkan, Perth Festival 2019 “Kwongkan” means sand in the language of the Nyoongar...
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“Ajijaak On Turtle Island”: New York Stories Old And New
On a recent Sunday afternoon, at the New Victory Theater, timelines collided. The New Vic, founded...
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Barcelona Meeting On Independent And Non-Institutionalised Theatres: A Short Report
It was a great success the first Barcelona Meeting on Independent and Non-Institutionalised...
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“KING” – An Interview With Shaun Parker
For Mardi Gras 2019, Shaun Parker & Company will present the world premiere of KING, an...
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Gripping, Contemporary Take On Brecht: “The Good Person Of Szechwan” (Dir. Yury Butusov), At The Moscow Pushkin Drama Theatre At The Barbican, London
It was long overdue for a British audience to be given the opportunity to see another work by the...
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“Kinkakuji:” Staging A Japanese Classic With A German Twist
A new opera based on the quintessentially Japanese novel Kinkakuji is set to open in Tokyo...
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