Conor McPherson’s The Brightening Air at the Old Vic: Wonderfully Numinous And Eccentric Account Of ...

Apr 29, 2025

2024 Dublin Theatre Festival – Subjective Report [Part II]

Mar 4, 2025

Theatre As A Public Forum And A Place Of Protest: The #MeToo Revolution In Iceland

Dec 20, 2017

Cleansed Through Chaos: “God Bless Iceland” at The Reykjavik City Theatre

Nov 16, 2017

When Real Life Out-Performs The Theatre: “1984” At The Reykjavik City Theatre

Sep 29, 2017

The National Theatre Of Iceland, Politics, And The Elf Palace

Sep 16, 2017

The Politics of Being Unaided: Act Alone Solo Performance Festival in Sudureyri, Iceland

Sep 10, 2017

Mohamed El Khatib’s “La Vie Sècrete Des Vieux”: a Poetics of Attentive Listening

Aug 18, 2025

Ubu Is The Symbol Of Rebellion Tyranny And Stupidity/Budget Cuts In Culture – A Serious Threat

May 23, 2025

Rameau reinvented: Peter Sellars stages “Castor et Pollux” at the Opéra National de Paris

Feb 3, 2025

(LA)HORDE’s Flash Mob Revolution

Dec 13, 2024

Back to the Updated Future: Rock Opera “Starmania” – 45th Anniversary

Jul 21, 2024

Theatre as Confrontation: Catherine Filloux’s “How to Eat an Orange” at La MaMa

Jun 4, 2024

“Miss Saigon”: Déjà vu. An exclusive interview with Claude-Michel Schönberg

May 21, 2024

Good Fortune: A French Director Embraces Hong Kong

May 1, 2024

More Equal Theatre-Making in Europe: Reflection on Creative Europe and Practical Difficulties from Multilingual Perspectives

Feb 29, 2024

Multilingual Theatre For/With Young Audiences: On the Jeune Théâtre Européen Jeunes Publics Project

Feb 28, 2024

Peter Sellars’ “Beatrice di Tenda”: Freedom, Defiance, and Tyranny

Feb 27, 2024

“The Maids” by Genet: The Logic of the Paradox

Jan 2, 2024

Léonora Miano On “What Must be Said”

Jun 5, 2023

“Al Capone the musical” à la Francaise

Jan 31, 2023

Kenyans Get a Taste of “The French Shakespeare”

Jan 4, 2023

Theatre After COVID: The 2022 Avignon Theatre Festival in Search for Theatrical Magic and Forms of Philosophical Transgressions – Part...

Aug 7, 2022

Theatre After COVID: The 2022 Avignon Theatre Festival in Search for Theatrical Magic and Forms of Philosophical Transgressions – Part...

Aug 6, 2022

The Musical “Notre Dame de Paris” Returns to the United States

Jul 27, 2022

Farrah El Dibany: First Egyptian and Arab to Perform at Paris Opera

Jul 17, 2022

From a Position of Perspectives: An Interview with Patrice Pavis

Jun 21, 2022

“Black Boy,” or What to Do with the White Theatre Critic

May 16, 2022

The Power of Reflection in “Portrait Avedon-Baldwin, Entretiens imaginaires” at the Théâtre du Rond Point, Paris

Apr 19, 2022

(Not) Adapting to the French Stage: “Les Producteurs”, Directed by Alexis Michalik, at the Théâtre de Paris

Dec 15, 2021

A New Staging of Enesco’s “OEdipe” at Paris Opera by Wajdi Mouawad

Nov 18, 2021

Interview with Choreographer-Director Aguibou Bougobali Sanou

Nov 1, 2021

Sinking Ship Production’s “A Hunger Artist” in France

Oct 19, 2021

A Memory Palace on Tauris: Reprise of Gluck’s Iphégenie en Tauride at the Paris Opera

Oct 6, 2021

Divas Are Forever: Marina Abramović’s “7 Deaths of Maria Callas”

Sep 20, 2021

Playing with “White is Purity” in Pirandello’s “Comme tu me veux”

Sep 19, 2021

Immersion and Spectator Self-Reckoning: “Boxing Shadows” at the Avignon Theatre Festival  

Jul 30, 2021

Theatre in the Time of Protest: “Glass Menagerie” at the Théâtre de l’Odéon

Jun 18, 2021

Democratizing the Theatre-Making Process: “Six Characters in Search of An Author”

Jun 16, 2021

“Let Them Do Yeats Next!:” “AURIC” At The Brighton Fringe

Jun 9, 2021

What Will You Do This Summer? On An Interdisciplinary Summer Camp In Warsaw

Apr 28, 2021

Interview with Jérôme Bel

Apr 9, 2021

Portrait: Tamanoir Immersive Studio, Between Performance And VR

Mar 18, 2021

Debate: France, The Nation Where Culture Was Left Behind

Mar 8, 2021

With Jean-Rene Gossart, French Theatre is Taking Root in Bali

Mar 8, 2021

What Are The Challenges In Translating Comedy For The Stage: Laughs Sans Frontières

Dec 2, 2020

Avignon 2020 Announces its Program: The History of Theaters Rethought Within the Framework of New Partnerships

Nov 16, 2020

Interview with Charlotte Boimare & Magali Solignat

Nov 10, 2020

Interview with French Theater Director Paul Desveaux

Oct 20, 2020

Classes d’Art du Festival d’Avignon Online: SEASON # 1

Sep 29, 2020

Interview with Author and Director Eva Doumbia

May 22, 2020

“#GestezChezVous” Participative Project by Compagnie Hippocampe and Théâtre Victor Hugo

May 19, 2020

Interview with Raphaëlle Boitel – Compagnie L’oubliée

May 17, 2020

Interview with Playwright David Lescot

Apr 13, 2020

Interview with Elise Vigneron, Théâtre de l’Entrouvert

Feb 21, 2020

“HEN” – Gender Fluid Puppetry at The Mouffetard – Théâtre des Arts de la Marionnette, Paris

Feb 5, 2020

“Rhinoceros” by Eugène Ionesco: A Novella

Jan 5, 2020

“History of Violence” and How Your iPhone is a Culprit

Dec 12, 2019

Denying A Harsh Reality in “The History of Violence”

Nov 26, 2019

Interview with Compagnie Dyptik

Nov 13, 2019

Glasses That Translate. How Is This Possible?

Sep 26, 2019

French Puppetry and Object Theater in North America and France

Sep 16, 2019

Interview with Plasticiens Volants

Aug 19, 2019

Avignon 2019 – “Outwitting the Devil”: A Mesmerizing Dance and an Hypnotic Experience Created by Akram Khan

Aug 11, 2019

Avignon 2019: Seeking the Other – Staging the Paroxysms of Orientalism

Aug 10, 2019

Avignon 2019: “Outside” – Between Testimony and Political Provocation

Aug 8, 2019

Avignon 2019: “The Rest Will Be Familiar to You from Cinema” as Told by the Chorus from the Banlieu

Aug 6, 2019

Avignon 2019: Irène Bonnaud’s Amité and The Lessons in Juicy Comedy, Delicious Acting and Humanity of Being

Aug 4, 2019

Avignon Festival 2019: “L’Amour Vainqueur”

Jul 31, 2019

Avignon 2019: Imagining Two Plays That Embody the Ghosts of Europe. “Dévotion” and “Nous l’Europe”

Jul 29, 2019

Avignon 2019: “Architecture” – Between History and Philosophy

Jul 25, 2019

Avignon 2019: Staging the Impossible. On Exile, Community and Hope in Christiane Jatahy’s “Le Présent Qui Déborde – Notre Odyssée II”...

Jul 23, 2019

Avignon 2019: In Search Of Multiple Selves: “Multiple-S” By Salia Sanou And “Oskara” By Kukai Dantza

Jul 21, 2019

Avignon 2019: Seeking Truth: On History, Memory and Fiction in Alexandra Badea’s Points de Non-Retour [Quais de Seine]

Jul 20, 2019

Avignon 2019: Reading the Open Ending of “Sous D’autres Cieux” (“Under Different Skies”)

Jul 18, 2019

International Playwrights Showcased at Columbia University School of the Arts

Jun 30, 2019

“The Damned”: La Comédie Française On the Barbican Stage.

Jun 29, 2019

Interview with Marina Montefusco, Le Clan des Songes

Jun 27, 2019

Performing Arts Festivals In France – Summer 2019

May 8, 2019

Interview With Olivier Py’s American Actors

Mar 27, 2019

Interview With Director Johanny Bert

Mar 20, 2019

Yngvild Aspeli’s “Ashes”: Puppets That Haunt And Kindle

Mar 17, 2019

French Playwright Florian Zeller’s “The Son” at The Kiln Theatre

Mar 9, 2019

Machinations Of Circus And Light: “When Angels Fall” Created By Rapaëlle Boitel At ArtsEmerson

Feb 27, 2019

Decor as Protagonist: Bruno Latour and Frédérique Aït-Touati on Theatre and The New Climate Regime

Feb 18, 2019

Interview With Olivier Comte, Les Souffleurs

Feb 11, 2019

Post-Apocalyptic Ambiguity Of The Inner Light: A Conversation With The Creators Of “When Angels Fall”

Feb 10, 2019

Interview With Yngvild Aspeli of Plexus Polaire

Jan 22, 2019

French Highlights At Chicago International Puppet Theater Festival

Dec 19, 2018

Stages Of Womanhood: On Female Theatre In The Arab World

Nov 25, 2018

Festival Des Francophonies En Limousin. International Francophone Theatre In All Its Diversity

Nov 21, 2018

“While I Was Waiting” Captures The Tragedy Of The Syrian Civil War In Damascus

Nov 10, 2018

Conversation With Élise Vigier, Director Of “Harlem Quartet”

Sep 22, 2018

“Women Get F*ed”: The Place Of Women In French Theatre

Sep 15, 2018

Arab Arts Focus To Be Featured In Festival Off Avignon

Jul 11, 2018

“Winter Solstice” At Cannes

Jul 9, 2018

Brainteasing Play “25” Offers A Puzzling Meditation On Being 25 That You’ll Have To Think About

Jul 2, 2018

“Hopefully We Can Collaborate Soon” – On Reciprocity Between Artists and Curators

Jul 2, 2018

“25” 1919 France: Pure Performance Cycle That Continues Through Eternity!

Jun 29, 2018

2018 Summer Festivals In France: Dance And Theater

Jun 26, 2018

Interview With Thierry Thieû Niang on Theatre for Children

Jun 18, 2018

Performance As An Act Of Civil Disobedience. Forbidden To Forbid

Jun 17, 2018

Ballet For Everyone: A French Classic Updated For The 21st Century

Jun 4, 2018

La Reprise–Histoire(s) Du Théâtre (I)–Milo Rau/IIPM

Jun 1, 2018

American Actors Give New Voice To French Theater

Mar 22, 2018

“Pollock” A Play By Fabrice Melquiot: Conversation with French Director Paul Desveaux

Feb 20, 2018

Jerome Bel and His Amateurs Test the Limits of Contemporary Dance in Saitama Show

Jan 20, 2018

‘Les Incorrigibles’: The Publishing House Championing Spanish Theatre in France

Jan 16, 2018

Interview with Performance Artist Camille Boitel

Jan 15, 2018

A New Approach To Subtitling

Jan 10, 2018

“Human Landscapes–The Migration Of Beings” – Choreographer Germana Civera In Atlanta

Dec 19, 2017

Room to Dream: The Théâtre du Soleil at the Park Avenue Armory

Dec 10, 2017

Review Of Albert Camus’ “State Of Siege” By Théâtre De La Ville

Nov 26, 2017

Homo Digitalis Meets Zigmagora

Nov 25, 2017

“The State Of Siege” (L’état De Siège): A Political Warning

Nov 19, 2017

The Making Of La Dramaturgie In France

Oct 12, 2017

My Translation Odyssey: Translating Alexandra Badea’s “The Pulverised”

Oct 5, 2017

Supertitles Galore At The 2017 Avignon Festival: Necessary Or Not?

Sep 23, 2017

“Seven Plays of Koffi Kwahulé: In and Out of Africa” Is Made Available To Anglophone Audiences

Sep 6, 2017

In Memoriam: Adel Hakim

Sep 2, 2017

“Between Man And Machine:” Biana Li’s Robotic Dance Show For Kids

Aug 23, 2017

Avignon Part 10. Dance Poem by Radhouane El Meddeb

Jul 29, 2017

Avignon Part 6: Frank Castorf’s “Die Kabale der Scheinheiligen. Das Leben des Herrn de Molière”

Jul 24, 2017

Avignon: Symphonies of Pain Part 5 – “Memories of Sarajevo” and “Dans les Ruines d’Athènes”

Jul 24, 2017

Avignon: Symphonies of Pain Part 4 – Caroline Guiela Nguyen’s “Saigon”

Jul 23, 2017

Interview with Romain Guimard, Acrobat with the French Compagnie XY

Jul 15, 2017

Dharma Drama: Peter Brook’s “Battlefield”

Jun 11, 2017

LA County Museum Art Makes the Most of Mozart’s “Magic Flute”: Frances Stark’s Film and Chagall’s Designs

May 11, 2017

Love: The Simplest, Hardest Thing to Talk About

Apr 9, 2017

“Oh Boy!”: From Champigny to Broadway

Feb 11, 2017

Le Mouffetard, A Place For Puppetry In A Unique Parisian Neighborhood

Feb 10, 2017

The Delicate Side of Heavy Metal: Philippe Quesne’s “La Mélancolie des Dragons”

Jan 14, 2017

The Avignon Festival Chronicles Part II

Sep 21, 2016

The Avignon Festival Chronicles Part I

Aug 31, 2016

Isabelle Huppert Talks Her Return To The Stage In “Phaedra(s)” And Paul Verhoeven’s Controversial “Elle”

Jun 2, 2016

Theatre Review: Odéon–Théâtre De L’Europe’s “Phaedra(s)” With Isabel Huppert At The Barbican

May 16, 2016

50 Years with Ariane Mnouchkine’s Théâtre du Soleil

Dec 23, 2014

Where Are the Women in French Theater?

Dec 19, 2014

Comparing New York and Parisian Theatre

Dec 3, 2014

Interview With the Creative Team of “Notes from Underground”

Nov 7, 2014

Intermittence Du Spectacle

Nov 3, 2014

Unbound Curation – The Freedom Of Programming Without Frames

Sep 5, 2025

“Works And Days” By The Fc Bergman Collective, Edinburgh International Festival

Aug 19, 2025

“We Have To Bring Awareness About The Consequences Of Our Habits Here And Now.”

Sep 21, 2023

Big In Belgium At The Edinburgh Fringe 2023

Aug 18, 2023

EXÓTICA by Amanda Piña

Jun 20, 2023

A Dramaturgy Of Desire

May 7, 2023

“FLY” – Sidney Leoni

May 7, 2023

“All Night Long” by Chantal Akerman

Mar 28, 2023

Glitches, Memes and Playbackshows: Performance in the Post-internet Era

Dec 14, 2022

Generation XIII – A Documentary Podcast

Oct 15, 2022

When Playwrights Complicate Dramatic Form: Recent Developments in African American Plays of the 2010s

Sep 12, 2022

Bodies of Knowledge – Facilitating Alternative and Humane Ways of Learning

Aug 31, 2022

“For They Do Not Know What They Dance”? (A Lecture-Essay Hesitantly Affirming the Idea that Every Lecture is Also a Performance)...

Jun 9, 2022

“For They Do Not Know What They Dance”? (A Lecture-Essay Hesitantly Affirming the Idea that Every Lecture is Also a Performance)...

Jun 8, 2022

Belgian Premiere of “Molly Bloom” in Ghent

May 26, 2022

Dissecting the Camera: Shifting Positions Between Theatre and Science

Jan 29, 2022

“The Time of Our Singing” Opera Tackles Racial Segregation

Sep 29, 2021

Get Down: A New Way to Rise. Professionalizing Urban Dances, From Street to Stage.

Jun 19, 2021

Self-Organizing Systems, Stickiness and Mental Resistance… An Interview with Mette Ingvartsen on Moving in Concert (2019)

Sep 24, 2020

“De Lege Zaal: Broken Shapes” – Rimah Jabr and Dareen Abbas / Moussem

May 1, 2020

Try Again. Fail Again. Fail Better.

Apr 30, 2020

Bodies and Bodies and Bodies of Work: A Feminist Perspective on the Notion of ‘Oeuvre’

Jan 19, 2020

“Tactile Quartet(s)” – Vera Tussing and Quatuor MP4

Dec 4, 2019

All We Need is Audience Development?

Nov 1, 2019

Playing the Family: Dramaturgy in Peeping Tom’s Family Trilogy

Oct 21, 2019

“Unknown, I Live With You”: Oppression and Song

Oct 11, 2019

What Are You Already Doing In Your Organization Or Community (Related To Digital Technology And Theatre)?

Oct 7, 2019

“Self Life Drawing” – Eunkyung Jeong

Sep 23, 2019

Edinburgh Fringe 2019: “Are We Not Drawn Onward to New Era” at Zoo Southside

Aug 16, 2019

“Somnia” – P.A.R.T.S. / Anne Teresa & Jolente De Keersmaeker

Aug 2, 2019

Dana Michel: “Cutlass Spring”

Jun 25, 2019

Dancer of the Year and Dancer of the Year Shop

Jun 25, 2019

Simple As ABC #3: The Wild Hunt – Thomas Bellinck/ROBIN

Jun 7, 2019

Sachli Gholamalizad’s “Let us believe in the beginning of the cold season”: Iranian Identity in an Age of Diaspora

Jun 2, 2019

“Let Us Believe In The Beginning Of The Cold Season” – Sachli Gholamalizad

Jun 1, 2019

The Naked Archivist: Tradition In The Work Of Performance Artist Pichet Klunchun

May 19, 2019

The Western Prejudice Of Contemporary Dance

May 17, 2019

Performatik 2019 – Towards Indisciplinarity

May 6, 2019

Theatre Of The Real And Embracing The Politics Of The Current Moment: Lee Hall And Ivo van Hove’s “Network”

Apr 27, 2019

“Black: The Sorrows Of Belgium”–Luk Perceval/NTGent and “Flandria”–Roland Gunst/LOD

Apr 25, 2019

We Complement One Another: Gabriela Carrizo, a Founding Member of Peeping Tom

Mar 17, 2019

What Is Queer About Queer Performance Now?

Feb 17, 2019

Cally Spooner: Between Language And Body

Feb 2, 2019

ETL Wins The Heritage In Culture Award 2018

Dec 26, 2018

Identity, Technology, Nostalgia: The Theater Of Ivo Van Hove, Robert Lepage, And The Wooster Group

Dec 23, 2018

Going To War And Making Revolution At The Bâtard Festival

Nov 17, 2018

“We Always Depend On Other People”–Dramaturg Stefan Bläske On His Process Of “Five Easy Pieces” With Milo Rau

Nov 3, 2018

Playful Dogmatism: Milo Rau and Joachim Ben Yakoub in Conversation

Oct 7, 2018

Young Work At TAZ #2018: Alice Bogaerts And Ingrid Berger Myhre

Sep 9, 2018

Between Body And Object

Sep 1, 2018

Aiming The Guts

Aug 30, 2018

Ivo van Hove’s “The Damned” at Park Avenue Armory

Jul 28, 2018

The Tiger And The Anus: How KFDA Decolonises Cosmopolitanism

Jun 18, 2018

Open Letters To The Circus #3: Who Gets To Build The Future?

Jun 11, 2018

“Five Easy Pieces”: Milo Rau’s Extraordinary Work About Child Murderer

May 15, 2018

“La Cerisaie”: Chekhov’s “Cherry Orchard” With New Secrets

Apr 26, 2018

Metaphor At Play: New Theatre from Belgium, Poland and United States

Apr 25, 2018

Force And Fragility Meet And Merge In “Dunas”

Apr 4, 2018

A New Approach To Subtitling

Jan 10, 2018

City Of Arrival: The Role Of Arts Organizations In Promoting Diversity

Jan 4, 2018

Afterthoughts On Ivo van Hove’s “The Fountainhead”

Dec 8, 2017

Experiencing “Badke”

Nov 7, 2017

Francis Poulenc’s “Midnight In Paris” (“La Voix Humaine”) In Beijing

Oct 21, 2017

Jan Lauwers: Beyond Postmodernism

Oct 14, 2017

Avignon Part 9: “Kalakuta Republik” – An Exploration of Music, Space and Movement Based on The Life of Fela Kuti

Jul 26, 2017

A Review of Begüm Erciyas’ “Voicing Pieces”

Jun 10, 2017

“Us/Them” Explores Exclusion And How Children Cope

Feb 27, 2017

Dispelling The Myths Of Circus

Jan 30, 2017

“Mount Tackle” by Heike Langsdorf / RADICAL_HOPE

Jan 22, 2017

Superdiversity in Youth Theatre

Jan 3, 2017

Failing to Understand Together: What Is Theatre Seeking In Current Affairs?

Dec 30, 2016

An Interview With Contemporary Dance Artist David Hernandez: ‘Doing What You Want Is a Privilege, and a Nightmare’

Dec 29, 2016

The Political Is Personal (Or Vice Versa)

Nov 18, 2016

Jan Fabre/Troubleyn – “Mount Olympus”

Oct 10, 2016

Moussem Cities Festival Reflects on Autocratic Tunisia

Jun 7, 2016

Pandora`s Ritual: To “Kill My Darlings” On The Brink Of An Individual Existential Revolu...

Jun 2, 2025

Culture Belongs To Humanity! Not To The Armies

Feb 12, 2025

Between The REMBELIO OF POPOLARI (“Omilies”, Carnevals, Anonymous Poets) And No Stable Funding

Apr 4, 2024

More Equal Theatre-Making in Europe: Reflection on Creative Europe and Practical Difficulties from M...

Feb 29, 2024

“Dziwna Wiosna”: About Cruelty Without Brutality or a War Story for the Young Children

Sep 7, 2024

Theatre Has Gone Underground in Kharkiv – Literally. An Interview with Ukrainian Playwright and Theater-maker Dmytro Ternoviy. Part 1.

Jul 9, 2024

Theatre Has Gone Underground in Kharkiv – Literally. An Interview with Ukrainian Playwright and Theater-maker Dmytro Ternoviy. Part 2.

Jul 9, 2024

“This Is Our Home” – Online Theatre Three Years Later

Mar 7, 2024

Fringe Theatre at Ukraine Fringe: from a Bomb Shelter to a Festival

Dec 19, 2023

“Interview with Ukrainian Actor Orest Pastukh”

Nov 28, 2023

Ukraine Fringe: Festival For The Brave To Be Held In Blended Form From August 21st To September 3rd

Aug 18, 2023

Memorial To Professor Maya Harbuzyuk

Aug 15, 2023

A Director’s Reflection: “Crimea 5 am” at The Kiln Theatre

Jan 27, 2023

Women and War: a Staged Reading of Two New Plays From Ukrainian Playwrights 

Dec 2, 2022

Refugees in Berlin (Excerpts From a Sort of Berlin Diary)

Nov 11, 2022

“Theater Now Is Important, It Gives People the Feeling that They Are Not Alone”: An Interview with the Ukrainian Playwright Andriy Bondarenk...

May 18, 2022

Theatre as Shelter: on Artists’ in Ukraine (And Beyond) Response to the Russian Invasion

Mar 29, 2022

ProEnglish Theatre in Kyiv: It’s Important that Art Doesn’t Stop during War

Mar 19, 2022

Musical Theatre Actors of Ukraine in War

Mar 13, 2022

Mariana Bodnar from Ukrainian Musical Theatre: We Woke Up in the New Reality

Mar 7, 2022

“The Addams Family” Musical: To Know What’s Real

Aug 10, 2021

Our Experiments: How Dakh Theatre Went Digital

Feb 6, 2021

“Family Album”: With Artistic Director Stas Zhyrkov And Director Matteo Spiazzi

Jun 26, 2020

“All That Remains” At Etcetera Theatre Camden: An Emotional Journey

Sep 21, 2019

Edinburgh Fringe 2019: “Interbeing – Stories Of A Current War”, Cockpit Theatre: Putting A Forgotten War Back Into The Spotlight

Sep 7, 2019

ETC and Ukrainian Theatre: A Dialogue of Art, Change, and Support

Apr 16, 2019

Event Review: Ukrainian 1930s Avant-Garde Taking The Stage In London

Jun 27, 2018

Contemporary Performing Arts In Ukraine. In Search Of A Lost Identity

Jun 24, 2018

Natal’ya Vorozhbit’s “Bad Roads” at The Royal Court Theatre

Nov 29, 2017

Interview With Heidi Wiley On The Creation Of European Theatre Convention (ETC)

Nov 4, 2017

“End of Imitation 2.0”: A Digital And Documentary Look At Humanity

Aug 15, 2017

“Shadow Space” An Innovative Ukrainian Acrobatics Show

Aug 10, 2017

Messiah on Stage

Aug 2, 2017

Contemporary Ukrainian Dramaturgy: Challenging Audience, Changing Theatre

Jul 20, 2017

An Interview With Dima Levytskyi, Post-Dramatic Writer

Jul 17, 2017

“Autumn on Pluto” Project Provides Aid to Geriatric Patients

Jul 11, 2017

“School #3”: The Heartfelt Theatre-Based Documentary About the Kids of War-torn Donbass

Jun 26, 2017

How Theatre Is Uniting The Youth of a War-torn Ukraine

Jun 20, 2017

Сryout With Precisely Measured Silence

Jun 16, 2017

Theatre of Displaced People: Post-Maidan Art in Ukraine

Mar 28, 2017

New Theatre in Ukraine: Rattle, Break, and Creation

Nov 8, 2016

Theatre Review: “Penetrating Europe, Or Migrants Have Talent”–Fresh, Thoughtful, And A Hell Of A Lot Of Fun

Aug 20, 2016

Theatre Review: “All That Remains” (Olesya Khromeychuk/Molodyi Teatr London, 2018)

Aug 19, 2016

“The Point Of No Return”: A Maidan-Themed Theatre Production Shown In London

Jun 19, 2016

Documenting Ukraine: Theatre–George Genoux And Natalia Vorozhbit At GRAD, Reviewed By Jo Varney

May 23, 2016

Interview: Mikhail Reznikovich, An Artistic Director Of The National Theatre Of Kiev, Talks About Their Upcoming London Tour At The St. Jame...

Aug 30, 2015

Robin Ashenden Reviews “Bloody East Europeans” By Uilleam Blacker And Molodyi Teatr

Jun 11, 2014

Natalya Vorozhbit Writes Verbatim “Maidan” Play

May 27, 2014

Natal’ya Vorozhbit’s “Voices Of The Uprising”

May 19, 2014

Public Readings of “The Diaries of Maidan” at the Center of Contemporary Art “DAKH”

Apr 20, 2014

Theatre for Dialogue Confront the Unrest in Ukraine

Feb 22, 2014

Kyiv Pectoral: The Theater On Podil Wins 6 Out Of 14 Awards

Mar 29, 2012

Interview with Ellen Pearlman about AIBO, an “Emotionally Intelligent” Artificial Intelligent Brainwave Opera. Part 2.

Aug 29, 2021

Interview with Ellen Pearlman about AIBO, an “Emotionally Intelligent” Artificial Intelligent Brainwave Opera. Part 1.

Aug 24, 2021

Our Experiments: Upcycling in Theatre – An Interview with “Upcycling” Costume and Set Designer Reet Aus from Estonia

Feb 11, 2021

Good Theatre Surpasses Language: An Interview with Mari-Liis Lill, Estonian Actress

Aug 5, 2018

Field Guide To Estonian Theatre Audiences

Apr 15, 2018

Theatre Series “Tale Of The Century”: How Do You Trace The History of the Nation?

Mar 14, 2018

Attempts at Self-Surprise: An interview with Ene-Liis Semper, the Artistic Director of Theatre NO99

Feb 22, 2018

“No 43-Filth” Trapped In Our Useless And Muddy Reality Of Being?

Dec 29, 2017

Contemporary Estonian Drama

Jun 17, 2017

An Interview with Alexey Strelnicov, Belarusan Director

Jun 7, 2023

Speaking from Outside: Interview with Olga Voronkova

Mar 7, 2023

A Lady with a Machine Gun

Oct 15, 2021

Andrei Kureichik’s “Insulted. Belarus”: One Year On

Sep 2, 2021

Playing Richard

Feb 27, 2021

Raw, Revolutionary, and Painfully Honest: “Insulted. Belarus(sia)”

Oct 23, 2020

The Kupałaŭski’s Century

Sep 19, 2020

Season of Doom in Belarus

Aug 15, 2020

Theatrical Coronalypse in Belarus

May 26, 2020

Interview with Oksana Haiko

Nov 4, 2019

Another Step Forward: An Interview With Homo Cosmos Theatre CEO Founder Katsiaryna Saladukha

Oct 6, 2019

Belarusian Theatre and The Disability Question

Oct 2, 2019

Stage Space of Contemporary Belarusian Scenography

May 15, 2019

The Ritual Of Illusion. “Gogol. Fatum” At Gomel State Drama Theatre

May 12, 2019

Intermediality In The Advanced Dramatic Readings In Belarusian Theatre

May 5, 2019

Sonic Realm Theatricals In Belarusian Theatre

Apr 13, 2019

In “Trustees,” Belarus Free Theatre Mercilessly Demolishes Australia’s Cultural Debate

Oct 24, 2018

Denim And Revolution: Belarus Free Theatre’s “Generation Jeans” Resonates

Aug 22, 2018

“Voices From Chernobyl”–Ténéré Arte’s Brilliant, Ghostly Retelling Of The World’s Worst Nuclear Disaster

Dec 3, 2017

“Voices From Chernobyl” – Adaptation of The Book by Nobel Winning Author Svetlana Alexievich

Jun 25, 2017

Contemporary Dance in Belarus in the Early 21st Century: “Waiting for Godot”

Jan 31, 2017

Review: “Burning Doors”(Belarus Free Theatre) – “Incinerating The Line Between Performance And Real Life”

Sep 8, 2016

The Turn Of The 20th And 21st Century: New Thinking, New Language, New Dance

Sep 1, 2016

New Belarusian Dance: The Beginnings

Jul 12, 2016

“Dangerous Acts Starring The Unstable Elements Of Belarus”: Review By Jesse Kirkwood

Dec 8, 2014

Belarus Free Theatre: An Interview With “Red Forest” Director Nicolai Khalezin

Jul 30, 2014