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“El día del Watusi” (The Day of the Wa...
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Diego Garrido Sanz’s “Violencia”...
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“El entusiasmo” (The Enthusiasm) at Ma...
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Inside Chicago Court Theatre’s “Berlin...
Posted by Susanna Sun | 0
Debating Identity: Is It Time to Rename Cairo’s Experimental Theater Festival?
by Ati Metwaly | 26th Sep 2025 | Egypt, Essay, Festivals
The Cairo International Festival for Experimental Theater (CIFET) has long been a vital platform for the boundary-pushing theatrical voices in the Arab world, and beyond. Recently, debates have emerged over whether to keep “experimental” in its name, as the festival faces pressure to broaden its scope and attract wider audiences. The question now is how to balance honoring the festival’s experimental roots while evolving to meet the changing theatrical landscape of the 21st century.
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“My Father’s Fable,” Bush Theatre
by Aleks Sierz | 25th Jun 2024 | Nigeria, Review, United Kingdom
The 12th Dangdai Xiao Juchang Xiqu Jie (Contemporary Black Box Xiqu Festival当代小剧场戏曲节) by Star Theatres (繁星戏剧村) in Beijing 2025
by Xunnan Li and Yuan Du | 2nd Dec 2025 | China, Festivals, News
The Dangdai Xiao Juchang Xiqu Jie (Contemporary Black Box Xiqu Festival), operated at Star Theatres, has been a significant engine for contemporary experimentation of Xiqu (Chinese traditional theatre) since its establishment in 2014. Now entering its 12th year in 2025, the festival has supported more than 200 experimental Xiqu projects, drawing millions of audience members from across China. It remains one of the earliest and most influential cultural clusters where emerging Xiqu artists can articulate their creative voices in a flexible, low-cost, and artist-centred environment. Reading the slogan “He He” (和合harmony and collaboration) of this year’s festival and speaking with its founder and CEO, Mr. Fan Xing, I argue that this longstanding initiative has grown into a hybrid cultural space and the meaning of “He He” performatively means a harmonious collaboration between the futurist experimentation and the deep-rooted nostalgia.
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We Passed Through The Wall Of Sorrow Together
by Mehdi Shahedi | 26th Aug 2025 | Essay, Iran, Theatre and Politics
Witty Revival Of 2022 Pollesch “Liebe, Einfach Außerirdisch” In Berlin
by Daniel Meyer-Dinkgräfe | 12th Dec 2025 | Directing, Germany, Review
When the production first opened in 2022, critics commented on the fact that the play was being...
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Emma Dante’s “The Angel of the Hearth”
by Margaret Rose | 10th Dec 2025 | Italy, Review, Theatre and Gender
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“The Phantom Of The Opera” Returns To Mexico: A Reinvented Masterpiece
by Lorena Meeser | 12th Dec 2025 | Mexico, Musical Theatre, Review
Mexico City becomes once again the stage for a major musical-theater event. After more than a year...
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Tom Block Sparks Arts Activists
by Marcina Zaccaria | 11th Dec 2025 | Festivals, LGBTQ+ Theatre, New York
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#Me Too Oedipus
by Jonathan Kalb | 20th Nov 2025 | Adaptation, Review, United States of America
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Dimension Zero: All Judy, No Punch
by Morgan Skolnik | 17th Nov 2025 | New York, Puppetry, Review
“The Butterfly Who Flew Into The Rave”, Edinburgh Festival Fringe 2025
by Duška Radosavljević | 24th Aug 2025 | Edinburgh 2025, Festivals, New Zealand, United Kingdom
Oli Mathiesen’s dance piece The Butterfly Who Flew Into The Rave has been described by this...
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Bell Shakespeare’s New “King Lear” Understands The Joy Of A Good Tragedy
by Kirk Dodd | 20th Jul 2024 | Australia, Dramaturgy, Review, Sydney
Oscar Barney Finn and Paulo Brunetti Interview
by Jack Wernick | 20th Aug 2024 | Adaptation, Argentina, Interview
I had the opportunity to interview frequent collaborators, writer-director Oscar Barney Finn and...
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