Directing

Keiko Miyata To Mark Departure From The New National Theatre, Tokyo, With Piece By Up-And-Coming Playwright

Posted by Nobuko Tanaka | 11th Jul 2018 | Directing, Japan, News, Playwriting |

After eight years as artistic director for drama at the New National Theatre, Tokyo, Keiko Miyata,...

Robert Lepage Finally Makes It To Stratford With An Astonishing “Coriolanus”

Posted by Jamie Portman | 10th Jul 2018 | Canada, Directing, Review |

We’re not in a movie house. We’re in Robert Lepage country, so it’s inevitable that the famed...

Longread. Katie Mitchell On Chekhov, Stanislavsky, And Characters Of Flesh And Blood

Posted by Yulia Savikovskaya | 9th Jul 2018 | Directing, Interview, Russia, United Kingdom |

Katie, or rather, Katrina Jane Mitchell, is a leading British theatre director whose creative...

“Deep Present” – Jisun Kim Stages Four Artificial Intelligences

Posted by Claire Swyzen | 16th Jun 2018 | Directing, Review, South Korea, Transmedia |

A shallow learning-play In Deep Present (2018) Seoul-based director Jisun Kim stages four...

“Uncle Vanya,” Anton Chekhov’s Play, On The London Stage

Posted by Anna Prosvetova | 3rd Jun 2018 | Directing, Review, Russia, Russian Theatre Abroad |

Uncle Vanya is, perhaps, one of the most hopeless plays by Anton Chekhov. Talking about...

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

Posted by Charlotte De Somviele | 1st Jun 2018 | Directing, France, Review |

Between re-enactment and appropriation: the as-if strategy of Milo Rau Acclaimed director Milo Rau...

Lev Dodin Brings To Life Grossman’s “Life And Fate” Onstage At The TRH

Posted by Emily Couch | 30th May 2018 | Directing, Review, Russia, Russian Theatre Abroad |

Internationally acclaimed theatre director Lev Dodin and the legendary Maly Drama Theatre of St....

“Terrestrial,” A Tale Of Friendship, Loneliness, And Aliens In The Australian Desert

Posted by Maggie Ivanova | 29th May 2018 | Australia, Directing, Review |

Fleur Kilpatrick’s Terrestrial, directed by Nescha Jelk for the State Theatre Company of South...

Elizaveta Boyarskaya: Acting And Directing Is More Than A Job—It Is A Mission

Posted by Irene Kukota | 29th May 2018 | Acting, Directing, Interview, Russia, Russian Theatre Abroad, Translation |

Following the premiere of Vassily Grossman’s Life And Fate at the Theatre Royal Haymarket on May...

The Drama Of Independence

Posted by Valdas Vasiliauskas | 27th May 2018 | Directing, Essay, Lithuania, Playwriting |

Eimuntas Nekrošius and Lithuania’s Youth Theatre May 2018 marks thirty years since an event of...

The Jewish Theatre In Warsaw: Tradition With A Modern Attitude

Posted by Piotr Rudzki (University of Wrocław) | 27th Mar 2018 | Directing, Essay, Poland, Theatre and Politics |

The Jewish Theatre in Warsaw is one of only two public theatres in Europe that regularly stage...

“A Doll’s House” Premieres On Istanbul Stage

Posted by Anadolu Agency | 26th Mar 2018 | Directing, Interview, Turkey |

Istanbul Metropolitan Municipality’s City Theaters recently staged Henrik Ibsen’s 1879...

A Conversation With Gia Forakis, Theatre And Opera Director

Posted by David Vernon | 18th Mar 2018 | Directing, Interview, New York, United States of America |

My aesthetic as a stage director is built first on a desire to create an experience that captures the poetic nature of the human condition. It’s a desire to connect with something larger than our sense of self, something sacred. And that’s what I see as the beauty of the theatre. In terms of the expression of that desire, my process is to bring to life a very visual, theatrical, and specific life on stage that illuminates increments of thought as components of physical action, which is how I articulate the methodology of One-Thought-One-Action.

The beauty of OTOA is that if you want to, you can use it almost like the cinematic process of editing film where one can compose one frame of action at a time. It’s how the text supports the physical actions on stage so that even if you could turn off the sound of the actors, the viewer would still get the story being told through the visual embodiment of thought as physical action.