Management Archives | The Theatre Times

Prasanth Narayanan Is Giving Shape To A Novel Theatre Culture

Posted by Saraswathy Nagarajan | 29th Oct 2018 | India, Management, News

The theatre director is bringing in a new visual language and dynamics through Prasanth Narayanan...

When Theatre Meets Contemporaneity: Praktika Theatre In Moscow

Posted by Sonia Bacchi | 22nd Oct 2018 | Management, News, Russia

Moscow theatre Praktika is the Russia’s first contemporary State theatre which played the key role...

Indigenous Theatre Would Thrive With Funds From The Canadian Government

Posted by Ginny Ratsoy | 8th Oct 2018 | Canada, Essay, Management

The Canadian government’s Department of Canadian Heritage has the opportunity to support a...

The Gladstone Celebrates A Decade Of Drama

Posted by Patrick Langston | 11th Sep 2018 | Canada, Management

The Gladstone Theatre turns 10 years old this fall. That may make it a mere stripling in the art...

Contemporary Performing Arts In Ukraine. In Search Of A Lost Identity

Posted by Elena Mygashko | 24th Jun 2018 | Essay, Management, Ukraine

The theatre landscape in Ukraine is diverse and contradictory. Presently, there are more than 120...

Open Letters To The Circus #3: Who Gets To Build The Future?

Posted by Sebastian Kann | 11th Jun 2018 | Belgium, Essay, Management

This is the third letter in a cycle of Open Letters To The Circus. This letter is written in the...

G Kumara Swamy: Dramatizing Traditions

Posted by Srivathsan Nadadhur | 11th Jun 2018 | India, Management, News

Founder of theatre group PlaneTG, G Kumara Swamy’s efforts in popularizing Telangana culture...

Dreams And Reality: Fortune Theatre, Dunedin, New Zealand Closes

Posted by Hilary Halba | 19th May 2018 | Management, New Zealand, News

The mid-morning phone call I receive from a colleague brings bad news. The Fortune Theatre–the...

Going Places Interview With Lauren Clancy, The New Executive Director of The Bush Theatre

Posted by Helen Rynne | 14th Mar 2018 | Interview, London, Management, United Kingdom

Lauren Clancy, the new Executive Director of the Bush Theatre, talks to us about her first few...

Attempts at Self-Surprise: An interview with Ene-Liis Semper, the Artistic Director of Theatre NO99

Posted by Liisi Aibel | 22nd Feb 2018 | Estonia, Interview, Management

Theatre NO99 is a theatre in Tallinn, Estonia with a troupe of 10 actors at the centre of it, lead...

Change Is In The Air For New National Theater Tokyo In 2018

Posted by Nobuko Tanaka | 19th Feb 2018 | Japan, Management, News

At the start of each year, the New National Theatre Tokyo holds a media event at which the...

Dramatist Oriza Hirata Has A Vision For Theatre

Posted by Nobuko Tanaka | 24th Jan 2018 | Interview, Japan, Management

Travel around 150 km northwest from the hustle and bustle of Kyoto, and another, far more peaceful...

Managing The Floating Theatre in Denmark: Reality Always Wins

Posted by Pelle Nordhøj Kann | 23rd Jan 2018 | Denmark, Essay, Management

Actor and artistic director of the Danish theatre company Det Flydende Teater (literally...

“Rocky Horror” Allegations Throw A Spotlight On Acting Boundaries, On And Off Stage

Posted by Leith Taylor | 21st Jan 2018 | Australia, Management, News

Where do the boundaries lie between exploring every possibility an acting role offers and still...

Noises Off: UK Theatre Audiences Have Always Been A Rowdy Lot

Posted by Theresa Saxon | 8th Jan 2018 | Essay, Management, United Kingdom

Without an audience in the theatre, there’d be no drama. But audiences have been providing rather...

American Lyric Theater: 10 Years of Nurturing the Future of Opera

Posted by Antigoni Gaitana | 25th Nov 2017 | Dramaturgy, Management, New York, Theatre and Opera, United States of America

I’m not particularly interested in an opera written for three vacuum cleaners featuring a punk-singer with no discernable plot. I’m not saying that type of work is not a legitimate form of musical-theatrical expression, but that isn’t what excites me about the potential of opera. I don’t think we have to revolt against opera’s history to define its future. Quite the contrary – I’m excited to see how artists BUILD upon opera’s history to create a vibrant future.