Chinese Theatre Festivals
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“Habitat” by Doris Uhlich: Performing a… by Marilena Borriello 6th August 2023 Reflections On Teaching Israel/Palestine in The… by Sruti Bala And Rashna D. Nicholson 22nd November 2023 “Negotiating Peace”, Kosovo Theatre… by Verity Healey 8th November 2023 Sweeney Todd: Not a Demon, But a Barber of Fleet Street by Lisa Monde 24th September 2023 “Gadjo (The Young Europeans)” Kosovo… by Verity Healey 2nd November 2023 Wicked the Musical Celebrates Its 20th Anniversary… by Lisa Monde 9th November 2023 Drag Queens in Musical Theatre by Lisa Monde 8th May 2023 “The Shadow Garden” Kosovo Theatre Showcase by Verity Healey 13th November 2023 The House Where Phantom Lived—Part I: The Majestic… by Lisa Monde 17th February 2023 Groundbreaking Autistic-Led Production of “A… by Jenna Lourenco 21st October 2023
Recent Posts
- AI, Sci-Fi, Neuroscience and ChatGPT – An Interview with Playwright Saviana Stănescu 30th November 2023
- “Waiting for Lucky” and “Quê Onde” – A Brazilian Beckett Double Bill Presented at the Between.Pomiędzy Dispersed Festival 2023 29th November 2023
- “Interview with Ukrainian Actor Orest Pastukh” 28th November 2023
- Sensing Others through Dancing Bodies as Data: Review of Sense Datum by UBIN DANCE 26th November 2023
- “The Interview,” Park Theatre 25th November 2023
- “Is It Me? Am I the Drama?”: Marketing “Switzerland” on Social Media 24th November 2023
- Reflections On Teaching Israel/Palestine in The Theatre Studies Classroom 22nd November 2023
- They Were People: Brittany K. Allen’s “Redwood” at EST 20th November 2023
- “Antigones” Kosovo Theatre Showcase 19th November 2023
- In Conversation with Sartre and Plato: Locus29’s “Hell Dialogues” 14th November 2023