On Fire: Luciana Acuña’s “Bailarinas Incendiadas” (Dancers in Flames)
Luciana Acuña is one of the most exciting figures in contemporary dance. Her energy lit up La edad...
South America
Tribute to 25 Years of Theatre of the Andes
The idea of celebrating the 25 years of Theatre of the Andes (Teatro de los Andes) was born from...
The Third Edition Of Loja’s International Festival Of Living Arts, Ecuador (FIAVL 2018)
The third edition of the Festival of the Living Arts of Loja (FIAVL), the southernmost Ecuadorian...
Theatre – Creating Conditions For What Has Been Silenced To Emerge
An Interview with Lenerson Polonini, theatre director (Companhia Nova de Teatro, Sau Paulo,...
The Theatre of Carolina Virgüez
Carolina Virgüez Serrato arrived at Rio de Janeiro in the early 80’s and knew she wouldn’t be...
Sergio Blanco’s “When You Pass Over My Tomb” at the Arcola Theatre: Exquisite Meta-Theatrical Exploration Of Death and Necrophilia
Nowadays it seems that it’s the fringe and Off-West End venues that are keeping the spirit of...
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Theatre – Creating Conditions For What Has Been Silenced To Emerge
An Interview with Lenerson Polonini, theatre director (Companhia Nova de Teatro, Sau Paulo,...
Read MoreOn Fire: Luciana Acuña’s “Bailarinas Incendiadas” (Dancers in Flames)
Luciana Acuña is one of the most exciting figures in contemporary dance. Her energy lit up La edad...
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To speak out or not to speak out?: Claudio Tolcachir directs “Mejor no decirlo/You Shouldn’t Have Said So” at Barcelona’s Teatre Goya
What does it mean to be honest with your partner? This is the premise that governs Salomé...
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Raising Fists and Sharing Bread: Tiziano Cruz’s “Wayqeycuna” (Argentina)
A shimmering Andes mountain range made of light and weave. The sound of rattling bells. A...
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Santiago’s Teatro a Mil 2026: theatre, democracy and artistic responsibility
There were two key themes running through this year’s Teatro a Mil, the Chilean capital’s...
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Oscar Barney Finn and Paulo Brunetti Interview
I had the opportunity to interview frequent collaborators, writer-director Oscar Barney Finn and...
Read MoreSergio Blanco’s “When You Pass Over My Tomb” at the Arcola Theatre: Exquisite Meta-Theatrical Exploration Of Death and Necrophilia
Nowadays it seems that it’s the fringe and Off-West End venues that are keeping the spirit of...
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A Beginner’s Guide To Santiago a Mil 2024: 10 Key Takeaways From One of Latin America’s Most Important Theatre Festivals
Santiago a Mil is an annual theatre and performing arts festival held in the Chilean capital in...
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Dealing with a Difficult Past: Guillermo Calderón’s “Villa” at Santiago a Mil
Catching up with Guillermo Calderón’s Villa at Santiago a Mil after almost 12 years has been a...
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Actor on the Verge of a Nervous Breakdown: “El Brote” (The Break) at Santiago a Mil
El Brote (The Break) is the tale of an actor who doesn’t feel he’s had the career breaks his...
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Performance and Politics: “Parlamento” (Parliament) Storms Santiago a Mil
Piel de Lava have been making work for 20 years and it shows. Elisa Carricajo, Valeria Correa,...
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Making a Film on Santiago’s Streets: “Efectos especiales” at Santiago a Mil
Think of a film set where the audience gathered on the streets are not fully aware that they are...
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Depression and discontents: Daniel Veronese’s staging of “La persona deprimida” (The Depressed Person) at Santiago a Mil
I read David Foster Wallace’s short story The Depressed Person soon after it was published in...
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From 1984 to 2024: Teatro Ictus’s “Primavera Con Una Esquina Rota” (Springtime In a Broken Mirror) at Santiago a Mil
Primavera con una esquina rota (Springtime in a broken mirror) has acquired a legendary status....
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“María Isabel” at Santiago a Mil: Staging Political Agency
How does one “write” a life for the stage? This question lies at the heart of Ana Luz...
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“Waiting for Lucky” and “Quê Onde” – A Brazilian Beckett Double Bill Presented at the Between.Pomiędzy Dispersed Festival 2023
Waiting for Lucky and Quê Onde [1] were presented on the evening of Friday May 19, 2023 in Teatr...
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ENTRE: A Dispersed Festival of Literature and Theater in Goiania and São Paulo, Brazil
An ambitious plan to fly from Gdańsk, Poland to Goiânia, Brazil and co-organize as well as lead a...
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Theatre and Social Justice in Brazil: The Successful Case of the São Paulo Theatre School
Introduction São Paulo Theatre School was founded in 2009 with the aim to establish a democratic...
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The ENTRE Festival in Midwest Brazil
ENTRE, is a Portuguese verb in the imperative tense that invites us to enter. That says to us:...
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The Brazilian Experience with Different Forms of Technopresence in Theatre: Os Satyros and SP Escola de Teatro
Praça Roosevelt (Roosevelt Square) is a square located in downtown São Paulo. It was a historic...
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From Uruguay to Auroville: Clowning Duo Brings Physicality and Humour to the Stage
At Adishakti Theatre’s Remembering Veenapani festival, a clowning troupe from Uruguay...
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An Argentinian Summer Theater Festival in Wintertime Madrid
February is summer in Argentina, and most Argentinian theaters and companies are on holiday....
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A Fight Against… (Una Lucha Contra…): Interview with Pablo Manzi and William Gregory
A Fight Against… (Una Lucha Contra…) marks Chilean playwright Pablo Manzi’s English-language...
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A New Kind of Stage Photography – Or Should We Call It by Another Name?
When the COVID-19 pandemic reached Brazil, I was in the city of São Paulo, covering an...
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Building Bridges: Interweaving Beckett – Brazil and Poland
Máskara – the Transdisciplinary Research Center in Theatre, Dance, and Performance – is an...
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Artists’ Entry: Lia Rodrigues
Every month, Etcetera gazes into the soul of a performer. Artistic interest instead of human...
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From Social Theatricality To Stage Theatricality: A Continuous Pandemic Script
The pandemic, like the tragedy of the 21st century, has a theatrical mode, and the social response...
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Dancing with a Deer, a Jaguar or a Snake
A diptych on the re-appearance of other-than-Human movements, with Amanda Piña and Rolando...
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The Fundamental Profanation
Stabat Mater is the most recent work by Brazilian actress, playwright, and director Janaina Leite,...
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The Bolshoi Theater School: Only in Russia and… Brazil
Twenty years ago, the school’s founders included leading Moscow ballet masters and today, a...
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“El Círculo” Review: The Vulnerability of Process as Performance
El Círculo will have another run in this month’s Santiago a Mil festival. This review is of a...
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Bringing the Actor to the Brink of This Immense Abyss: An Interview with Christiane Jatahy
Created and directed by Christiane Jatahy, E se elas fossem para Moscou? is comprised of two...
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“Inchoate Buzz:” A Testing Ground for Interaction and Interdisciplinarity
How far can bodily interaction amongst the audience members, with performance objects, and with...
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Isabelita Perón in the Spotlight: “Happyland” at Buenos Aires’ Teatro San Martin
Alfredo Arias has been based in France for many decades now, but he is an increasingly frequent...
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Trying to Transition with Asperger’s: Diego Casado Rubio’s “Millones de segundos/Millions of Seconds”
A performance for teenage schoolchildren of Diego Casado Rubio’s Millones de Segundos (English...
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Life on the Road: Mauricio Kartun’s “La vis cómica/A Humorous Streak”
There is no shortage of plays about troupes of traveling actors eking out a living on the road. To...
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Colonialism, Farce and Absurdism: Ignacio Bartolone’s “Piedra sentada, pata corrida/Sitting Stone, Running Foot”
In 2013 Ignacio Bartolone created a buzz with his first play, Piedra sentada, Pata corrida...
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Staging Forgotten Histories: “Kingdoms” at the Sarmiento Theatre
Romina Paula is perhaps best known outside Argentina for her work as an actress in seminal films...
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“Petróleo/Petroleum” – Piel de Lava’s Performed Deconstruction of Masculinity
For many in the English-speaking world, the company Piel de Lava is known primarily for its work...
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Plotting Yiddish Drama: A New Digital Resource
The history of Yiddish theatre is embedded – quite literally – in urban space. If you walk past...
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Four Brazilian Artists Choose New York as Headquarters of Their Resistance
Evoé Collective was born a year ago founded by four Brazilian actresses based in NYC. Bárbara...
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Popular Theater in Buenos Aires
The cliché phrase that Buenos Aires was the Paris of South America exemplifies the exaggerated...
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Avignon 2019: Staging the Impossible. On Exile, Community and Hope in Christiane Jatahy’s “Le Présent Qui Déborde – Notre Odyssée II”
Exile, migration, refugee crisis, loss of home and family, and death are among many realities and...
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International Playwrights Showcased at Columbia University School of the Arts
In June 2019, Columbia University School of Arts staged the second annual International Play...
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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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“There Is More Future Than Past” And “A Room of One’s Own”: Documentary Play About Latin American Women Artists
In the early twentieth century, Virginia Woolf published the essay Room of One’s Own, based...
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The Third Edition Of Loja’s International Festival Of Living Arts, Ecuador (FIAVL 2018)
The third edition of the Festival of the Living Arts of Loja (FIAVL), the southernmost Ecuadorian...
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When Poetry Is The Protagonist: “Lugones,” The Lord Of All The Words
Traditional literary analysis has focused on a tripartite division of genres as if they were...
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Performance Entre Le Réel Et Le Virtuel: Le Projet “Odiseo.Com”
Performance Between the Real and the Virtual: The Odiseo.com Project I will focus here on the...
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The Language Of Secrecy In Brazilian Performance “Quaseilhas”
In times of cognitive arrogance in contemporary reception, Quaseilhas is guided by the language of...
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