ProEnglish Theatre in Kyiv: It’s Important that Art Doesn’t Stop during War
On the first day of the Russian invasion, the ProEnglish Theatre in Kyiv, the only...
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Translation
“The Chairs” at The Almeida Theatre
Eugene Ionesco’s 1952 play The Chairs belongs to the moment of post-second world war European...
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A Fight Against… (Una Lucha Contra…): Interview with Pablo Manzi and William Gregory
A Fight Against… (Una Lucha Contra…) marks Chilean playwright Pablo Manzi’s English-language...
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(Not) Adapting to the French Stage: “Les Producteurs”, Directed by Alexis Michalik, at the Théâtre de Paris
A week after Josephine Baker posthumously entered the French Panthéon, a musical about two...
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“Where I Call Home”: Translating “Gens du pays”
Wolves and a dark night. The perfect match. Those lines get me every time. From the first time I...
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Family Drama Hits Close to Home for Keito Okamoto
When Keito Okamoto was offered the title role in French dramatist Florian Zeller’s latest work,...
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K.S. Rajendran’s “Ghosts” Explores Human Relations
Directed by K.S. Rajendran, Ghosts explores the moral dilemmas of a dysfunctional family. We...
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What Are The Challenges In Translating Comedy For The Stage: Laughs Sans Frontières
What are the challenges in translating comedy for the stage? And how do you get your translation...
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Theater in Translation at the British Centre for Literary Translation
The annual International Literary Translation & Creative Writing Summer School is delivered in...
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Translating Central and Eastern Europe’s Drama: Interview with Andrei Moskwin
In the post-Soviet area, the play’s path to the stage has always been a thorny one, so the drama...
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‘From the Italian Land to Poland’ and Back: A conversation with Giovanni Pampiglione
Rome, 9th February 2020. “Can I get some paper? Some cream-colored paper? And a pen?”...
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Between.Pomiędzy: A Festival That Believes in Europe
The Opening dialogue of the Between.Pomiędzy Festival. 5 May 2020. Octavian Saiu: I’d like to say...
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Try Again. Fail Again. Fail Better.
Milo Rau was to receive an honorary doctorate from the UGent in March. Corona decided differently,...
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Denying A Harsh Reality in “The History of Violence”
It opens with a manic attempt to clean. The sheets, the floors, the smell of the air, everything...
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Tue Biering’s “Land Without Dreams” at the Gate Theatre
What’s the use of thinking about the future? What’s the use of thinking about the future in a...
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Translating Trojan Horses
In 2019, Ayesha Manazir Siddiqi was asked to translate Trojan Horse, a play by Lung Theatre based...
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Tribalism, Tragedy and Torment: Yaël Farber’s “Blood Wedding” at the Young Vic
Federico García Lorca’s rural trilogy, written in the period between 1932 and 1936 as social...
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Entering “Yellow Inn”: A Conversation Between the Playwright and Translator, Part 2
To read Part 1 of this interview, click here. TRANSLATION AND ADAPTATION For the Illinois State...
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Entering “Yellow Inn”: A Conversation Between the Playwright and Translator, Part 1
Interview and translation by Kee-Yoon Nahm with contributions from Laura Gisondi. Lee Kang-baek is...
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Lorca, Lopez, and Translating Desire: “Yerma” at the Huntington Theater Company
Yerma, the titular character of Federico García Lorca’s play is terribly desperate. She...
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