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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Transcultural Collaborations
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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Do You Speak Tech? Report From An Interdisciplinary And Cross-Cultural Partnership
More recent studies from the social sciences showed that “familiar ground may not be the best...
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Stages Of Womanhood: On Female Theatre In The Arab World
The University of Bordeaux Montaigne concluded its 2018 public cultural program with a...
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Stan Lai: Between Laughter And Tears
Part of the Asian Theatremakers series At the height of the fear and panic caused by the SARS...
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Kampala International Theatre Festival, 2018 Edition
The venue is the Uganda Museum and performances from Kenya, India, Iran, UK, USA and the host nation will be staged. Below are teasers of some of the scheduled performances.
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Telling A Thai Tale: A Dance Dramaturg’s Take
“When I collaborate, I want to collaborate with the wrong person.” Pichet Klunchun, Thai dancer,...
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