Githa Sowerby’s “Rutherford And Son” at The National Theatre
Githa Sowerby is the go-to playwright if you want a feminist slant on patriarchy in the industrial...
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Directing
Russia Meets Iran: J’afari, Vișniec and Meyerhold, Partners of Ideology, Traversers of History
Read Farinaz Kavianifar’s interview with Rūhollah J’afari. On the evening of August 3, 2018,...
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Stories From The Soul: “Topi Ki Dastaan”, A Play Based On The Popular Hindi nNovel Topi Shukla
Director Tarique Hameed on why Dastaan Narration Form is the best way to narrate the story of Topi...
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The Ritual Of Illusion. “Gogol. Fatum” At Gomel State Drama Theatre
Belarusian stage director Yura Divakov is well-known in the region for his highly visual stagings....
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Samara Hersch: Theatre For The People, By The People
Samara Hersch is a theatre-maker, director, and teaching artist from Australia. She received her...
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Where There Is Cowardice, Winking Returns: A Conversation with Hungarian Director Róbert Alföldi
Fear Eats the Soul (Átrium), The Crucible (Szombathely) and Richard III (Radnóti Színház) – these...
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On Teaching Directing: The Essential Five
After teaching directing for several years, across the globe and at different kinds of...
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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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Transforming Society Through Documentary Theatre: Peter Eckersall In Conversation With Lebanese Director Sahar Assaf
Peter Eckersall: How did you come into theatre and how did you start working around this idea of...
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“An Enemy Of The People”: The Not-So-Silent Majority Speaks Out Again
In one bound, the rising English director Jonathan Munby found himself in the spotlight of...
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Sunandha Raghunathan’s “Bad Hindu” Is Caught Between Two Worlds
“I still remember, I was down with chicken pox and my mom would tell me stories. But, The...
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Guiding Principles: A New Play Takes Hong Kong’s Educational System To Task
From an early age, we are taught that right and wrong are two distinct entities, just as easily...
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The Use Of Children In Milo Rau’s “Five Easy Pieces”: Exploitation, Or Confrontational Theatre?
The re-enactments are a way to examine and reproduce human feelings. —Milo Rau [1] This summer, as...
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“Bali”: Between The Heroic And The Iniquitous
Long awaited by theatre aficionados in the city, a rousing new physical theatre production by the...
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Yukio Ninagawa, The Architect Of Cultural Crossroads
Part of the Asian Theatremakers series I met the late Japanese director Yukio Ninagawa in 2013...
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Dystopian Fairy Tale: Faezeh Jalali Adapts Vineet Bhalla’s Award Winning Play, “A Farming Story,” For The Mumbai Stage
The prolific theatremaker Faezeh Jalali has once again emerged from a strenuous and demanding...
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Move The Sound! Directing With New Technology
For me, as a director, it is important that the artistic idea and concept emerge from the story...
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“Art Doesn’t Exist To Be Liked” An Interview With Russian Stage Director, Timofey Kulyabin
Timofey Kulyabin is one of the most prominent young directors in Russia today. At 34, he has...
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Who Is Theater Maker Ellenor Riley-Condit?
Ellenor Riley-Condit is an actor, producer, creator, and artistic director of The Syndicate. She...
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Miguel Septién A Great Direction Of “Kiss Of The Spider Woman”: A Risky And Avant-Garde Proposal
Kiss Of The Spider Woman is splendidly directed by Miguel Septién, an excellent director who...
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