“For Me, The Script Is Not God”: Interview With Sunil Shanbag, Director Of “Words Have Been Uttered”
“While being respectful, I am not reverential,” says he, an Indian theatre director, screenwriter,...
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Directing
On The Other Side Of “Ant Street”: An Interview With Theatre Director Oliver Micevski
Oliver Micevski (b. Skopje, Macedonia, 1980) is one of the most creative and intelligently...
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Building Bridges To Bangkok Through Stage
Never at risk of being run of the mill, Chelfitsch — which took its name from a baby’s...
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Deepan Sivaraman on Going Beyond Words to Embrace The Visual Language of Theatre
The ace director has often faced flak from traditionalists. For well over a decade now, Deepan...
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Syrian Wael Ali’s Play “Under Low Skies” to Premiere in Napoli, Italy
The documentary theatre piece Under Low Skies (Sous Un Ciel Bas) from Syrian director Wael Ali had...
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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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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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