Chinese Theatre Festivals

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A Director Needs “to Practice What They… by Ivanka Apostolova Baskar 31st July 2022
Ivo Van Hove’s Water-turgy: “Ingolstadt”… by Duška Radosavljević 8th August 2022
Theatre After COVID: The 2022 Avignon Theatre… by Yana Meerzon 6th August 2022
Theatre After COVID: The 2022 Avignon Theatre… by Yana Meerzon 7th August 2022
An Interview with Prof. Ana Stojanoska—Theater… by Ivanka Apostolova Baskar 26th July 2022
Divas Are Forever: Marina Abramović’s “7… by Marisa C. Hayes 20th September 2021
Unmanly Griefs: Robert Icke’s “Hamlet” by Jonathan Kalb 19th July 2022
Sacrament of the Sea: Houseworld’s… by Andrew Agress 9th August 2022
The Musical “Notre Dame de Paris”… by Lisa Monde 27th July 2022
A Manifesto for the Future Stage: Performance Is a… by Future Stage Research Group At MetaLAB At Harvard 20th November 2021

Recent Posts

“The Cherry Orchard,” Portland Experimental Theatre Ensemble 12th August 2022
Parastoo Theatre: Art, Refuge, Action 11th August 2022
Leveling Effects: Matthew Spangler’s Adaptation of “The Kite Runner” 10th August 2022
Sacrament of the Sea: Houseworld’s “Bottom of the Ocean” 9th August 2022
Ivo Van Hove’s Water-turgy: “Ingolstadt” at the Salzburg Festival 8th August 2022
Theatre After COVID: The 2022 Avignon Theatre Festival in Search for Theatrical Magic and Forms of Philosophical Transgressions – Part II 7th August 2022
Theatre After COVID: The 2022 Avignon Theatre Festival in Search for Theatrical Magic and Forms of Philosophical Transgressions – Part I 6th August 2022
“The Hour of Death,” Bokshi Theatre Company 5th August 2022
About “Dog/Actor” at the Etcetera Theatre 4th August 2022
“The Years of Crows” at National Theatre, Belgrade 2nd August 2022

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