Making And Knowing: How Theatre Helps To Explore A City’s Identity
What gives an urban area a particular quality? What is the mood, feeling or atmosphere that makes...
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Participatory Theatre
Interview With Clara Fernandez-Vara: “Your Spectator Is Also Your Player”
Clara Fernandez-Vara is an Associate Arts Professor at New York University. Her background is in...
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“Dysconnect” – Towards A Digital Political Dramaturgy: Re-Humanizing Agency In The Age Of Algorithms
In 2011, a woman stood outside an abortion clinic in Manhattan and asked...
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In “Trustees,” Belarus Free Theatre Mercilessly Demolishes Australia’s Cultural Debate
The Belarus Free Theatre, exiled from their home nation, has returned to Australia to collaborate...
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A Tribute to Winston Ntshona: A Pioneer of Storytelling and Activism in South Africa
A slim, well-thumbed paperback volume occupies a special place on my bookshelf. Its spine is torn...
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Vince Laws: “A Very Queer Nazi Faust” – Participatory, Experimental Transmedia Performance
A Very Queer Nazi Faust is an experimental participatory performance piece created by artist Vince...
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Automatism, Autonomy, And Aesthetics In Performing Arts
Artists in the performing and theatrical arts currently have access to technology of an...
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Contemporary Performing Arts In Portugal: An Overview Pt. 2
This is Part 2 of a 2 part article. Read Part 1 here. The contemporary performing arts scene As...
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Practiced Empathy and Awareness with Atlantic Pacific Theatre
Atlantic Pacific Theatre challenged their regular audience with a diptych, part process theater,...
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“Quiz” at Noël Coward Theatre: Towards Participatory Theatre
It’s been a golden week for James Graham, British theatre’s wonder boy. After winning an Olivier...
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Secret Cinema’s Most Recent Production: A Recreated World Of Ridley Scott’s Classic Film “Blade Runner: The Final Cut”
Creating large-scale cultural experiences in abandoned spaces, Secret Cinema fuses film, music,...
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When It’s Written On Your Face: Teatr 21 And The Paradox Of Invisibility
The discussions framing social theatre are all too often carried out in the language of public...
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How Can We Transform The World Through One’s Self? Amsterdam’s Butoh Festival
In Waves: Transforming The World Through One’s Self At Amsterdam’s Butoh Festival In...
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Warsaw’s Teatr 21 At POLIN: Passover Is A Celebration Of Freedom
Pesach or Passover is the most widely observed Jewish holiday and arguably the most joyful....
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From Script To Stage: Sustaining The Rhythm In Performing Art In Nigeria
Can rhythm in theatre performances be sustained? Composing a moist and spicy story could be quite...
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The Place Of A Dramaturg In Twenty-First Century England
Between 2002–2005, I carried the professional title of a Dramaturg in the UK. Even when confronted...
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Theatre Is Not Happy Any More In Crisis: The Internet and Performing Arts
It’s often stated that performing arts reflect changes in society. But how does this look when we...
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“The Taste Of Displacement” – Diasporic Performance from Iraq
The Taste of Displacement (2014) is a video project and an experimental performance piece that...
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Encountering Indonesia At AsiaTOPA (Part 2)
This is the second in a two-part series by Barbara Hatley. Read Part 1 here. Reflections on...
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Theatre And Immersion: “You Enter Yourself Into This Space”
Immersion means experiencing. What does this mean for the theatre? Thomas Oberender, Artistic...
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