Jayachandran Palazhy on Contemporary Art Forms
International movement artist Jayachandran Palazhy feels that despite their so-called abstract...
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Transcultural Collaborations
It’s Shakespeare’s “Hamlet,” But Not As You Know It
With praise for his Hamlet with the Royal Shakespeare Company in 2016 still ringing in his ears —...
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Prague Quadrennial 2019: Imagination, Transformation, Memory
This summer, a wonderful artistic tradition will return to the city of Prague, as the Czech...
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Absurdist Comedy “Every Good Boy Deserves Favour” Gets Its Japan Debut
Tom Stoppard is one of the most influential figures in theater today and one of the most...
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ETC and Ukrainian Theatre: A Dialogue of Art, Change, and Support
As a mid-December snow fell over the city of Kyiv, Ukraine, the European Theatre Convention...
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The Immigrant Dragons – Part III: Creating A Dragon That Will Last 100 Years
Under a busy flyover where the Island Eastern Corridor becomes Chai Wan Road sits an unassuming...
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The Immigrant Dragons–Part II: On The Hunt For The Right Master
For 126 years, the small Australian city of Bendigo has embraced Chinese dragons. This year, their...
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Yngvild Aspeli’s “Ashes”: Puppets That Haunt And Kindle
When does desire give way to fixation, compulsion, addiction? In Yngvild Aspeli’s exquisite show...
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Get Out Of The Box: New Business Models And International Co-Operation
The European Theatre Lab (ETL) is an international co-operation that brings together several...
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In “Kwongkan,” Indian And Australian Performers Convey An Urgent Climate Change Message
Review: Kwongkan, Perth Festival 2019 “Kwongkan” means sand in the language of the Nyoongar...
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“Ajijaak On Turtle Island”: New York Stories Old And New
On a recent Sunday afternoon, at the New Victory Theater, timelines collided. The New Vic, founded...
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Barcelona Meeting On Independent And Non-Institutionalised Theatres: A Short Report
It was a great success the first Barcelona Meeting on Independent and Non-Institutionalised...
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“KING” – An Interview With Shaun Parker
For Mardi Gras 2019, Shaun Parker & Company will present the world premiere of KING, an...
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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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“Kinkakuji:” Staging A Japanese Classic With A German Twist
A new opera based on the quintessentially Japanese novel Kinkakuji is set to open in Tokyo...
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The “King” Returns And Theaters Look To Russia For 2019 – Theatre in Japan
Whether it’s a regular theatre that gets you going these days—or you’re skipping along more to...
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2018 Was The Year In Japan That Saw The Stage Sing, While Contemporary Drama Barely Made A Squeak
Musicals have flourished in 2018, with many young stars also helping to sell out straight plays in...
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Artistic Collaborations In Southeast Asia–Current Gaps And What’s Next For Producers
Intercultural Interlocutors: Tay Tong and Faith Tan, Part III *This is part 3 of a 3 part...
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Pushing Early Regional Exchanges And Responding To Artists’ Needs
Intercultural Interlocutors: Tay Tong and Faith Tan, Part II *This is part 2 of a 3 part article. ...
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A Producer’s Life–Catalysing Exchanges And Supporting Art-Making In Southeast Asia
Intercultural Interlocutors: Tay Tong and Faith Tan, Part I *This is part 1 of a 3 part article. ...
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