“Gardzienice:” Wesele – Wyspiański – Malczewski – Konieczny. Tomasz Wiśniewski in a Conversation with Włodzimierz Staniewski
One of the major figures in Polish experimental theatre, Włodzimierz Staniewski, is the founder of...
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Chinese Theatre Abroad
“New Dramaturgies:” Insights Into Mark Bly’s Playwriting Exercises. Interview with Mark Bly
Mark Bly is an American dramaturg, editor, and lecturer. He was the chair of the MFA Playwriting...
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“The Claim” at The Shoreditch Town Hall
Your story. Our story. Their story. Just imagine: you’re a political refugee, and, having...
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“Launcher 5,” or a Recipe to Make Young Men Monsters
Launcher 5’s honest rendition of narrative and characters is its winning card, which drew an...
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Italian Resilience Against COVID-19: The “Strange Interlude” at the Teatro Stabile in Turin
Having opened in May 1955, the Teatro Stabile in Turin is one of the most important artistic...
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Paranoia at the Fore in Steppenwolf’s Revival of Tracy Letts’s “Bug”
Tracy Letts’s Bug may be fourteen years old, but this tale of a couple convinced that they are...
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Simon Stephens’ “Maria:” Aggressive Optimism is Saving the World
“The theatre is a device for empathy – its job is to create better people.” Those are the words of...
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Interviewing Crystal Field, Artistic Director or Theater for the New City
Life cannot exist without art. That is something that is hard to get into people’s heads, because they say ‘I have to eat. I have to pay the rent. I have to be warm in the Winter and cooler in the Summer, if possible.’ They don’t realize that if you took their art away, if their art got taken away, they would die. They only know it, when it gets taken away.
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The Mechanics of Crafting Transitions
For ensemble pieces in theatre, where actors never once leave the stage, what becomes...
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Review of Porte Parole’s “The Assembly – Montreal”
No longer is there a “safe place” on the Canadian political spectrum; to be moderate is to be a...
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All You Need to Know About Eight Years of India by the Nile in Egypt
As the eighth India by the Nile festival approaches, let us celebrate the history of one of the...
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Flawless Live Stream of Award-winning New Zealand Solo Show Celebrates Transgender Tdentity
Princess Boy Wonder, performed by George Fowler (aka Hugo Grrrl), Directed by Lori Leigh, BATS...
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Shakespearean Tragedy Unfolds Wave of Populism on Tehran Stage
A Review on Iranian Adaptation of Coriolanus in Tehran A free adaptation of William Shakespeare’s...
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Ken Watanabe: A Conquistador in “Pizarro”
Ever since his Oscar-nominated Hollywood debut as Lord Katsumoto in 2003’s The Last Samurai, Ken...
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“I Think We Are Alone” at Theatre Royal Stratford East
Once-radical theatre companies are increasingly celebrating anniversaries, as if to say, hey,...
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Lasting Friendships: An Interview with Philip Arnoult
When someone speaks about US and Hungarian theatrical relationships, you cannot miss his name....
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“Too Early for Birds” Returns to the Stage with Music Edition
‘Kenyan History has been scored and underscored by music. From when it was interwoven with every aspect of life, across all the nations and communities that are now counted as Kenyan, in pre-colonial times. To today when a doltish action by a government official can unwittingly turn a club banger into a protest song. We cannot be separated from our music…’
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Uganda’s Elvania Namukwaya Who Broke the Glass Ceiling of Theatre
The African theatre scene in the 1960s and the 70s was mainly peopled by men. But there were women...
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REGIONAL MANAGING EDITORS FOR POLAND
KASIA LECH
LAUREN DUBOWSKILATEST FROM POLAND
- “Gardzienice:” Wesele – Wyspiański – Malczewski – Konieczny. Tomasz Wiśniewski in a Conversation with Włodzimierz Staniewski
- Feminisation, Democracy, Labour: Towards a Socialised Cultural Institution
- Between Freedom and Manipulation: The Situation of Actors in “Factory 2
- Teatr Brama’s “Ghost Dance”
- The Puppets Are Changing: “The Weak Year” at The Academy of Theatre Arts in Wrocław
- Dressing Room with a Bathrobe and a Gas Mask. “Trump and the Field of Maize” at the Polski Theatre, Bydgoszcz
- Jan Klata’s “King Lear” at the Theatre Olympics: In the Name of the Father
- “Unknown, I Live With You”: Oppression and Song
- Sniff Like a Dog Sniffs the Wondrous: “Warsaw’s Daughters #100LAT” by Teraz Poliż
- Plotting Yiddish Drama: A New Digital Resource
- “Songs of Lear” Performed by The Song of the Goat Theatre: Where Inspiration Meets High Culture With Unrefined Expression
- In Memoriam: Bogusław Schaeffer, Poland’s Renaissance Man
- Borders, Barriers and Limitations: “Lwów We Won’t Give Up”
- Where Have You Gone, Davey?
- Polish Theatre Transfers To Dresden
- A Review of “Notes From Exile” from the 2018 Boska Komedia Festival: Reverberations of Antisemitism
- A Review of “We Are Leaving” from the 2018 Boska Komedia Festival: An Epic in the Mundane
- A Review of “Under the Influence” from the 2018 Boska Komedia Festival: Splitting the Mind and Splitting the Stage
- A Review of “Disgrace” from the 2018 Boska Komedia Festival: Fascinating but Problematic Theatre
- A Review of “Conformist 2029” from the 2018 Boska Komedia Festival: “Those Who Would Give Up Essential Liberty, to Purchase a Little Temporary Safety…”
