Chinese Theatre Playwriting
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Imagine/: Artificial Intelligence Comes to Theatrical Design by Michael Schweikardt 17th September 2022 Brecht, Kabarett, and Pussy Riot: The Impact of… by Rhiannon Ling 22nd February 2023 The House Where Phantom Lived—Part I: The Majestic… by Lisa Monde 17th February 2023 “Al Capone the musical” à la Francaise by Lisa Monde 31st January 2023 Broadway Bodies: An Interview with Ryan Donovan by Trevor Boffone 15th March 2023 Art and Tech Imaginings of Kat Mustatea by Alexander Fatouros 10th March 2023 Sitting Down with Emerging Artist Thalia Ranjbar by Morgan Skolnik 27th February 2023 Interview: The “Best Time to Be Alive”… by Melissa Denzer 20th March 2023 Remembering A Silenced Teacher: Xavier Bobés And… by Maria Delgado 8th March 2023 “Woman, Life, Freedom: Theatre and Protest in… by The Theatre Times 5th March 2023
Recent Posts
- With Faith and Trust into the Future: The 10th International Theatre Olympics in Hungary 24th March 2023
- The Envy of Baz Luhrmann: A Parkside “Romeo + Juliet” to Remember 23rd March 2023
- Interview: The “Best Time to Be Alive” and The Reclamation of Identity 20th March 2023
- Touching the Azerbaijani Theatre: From Ritual to Spontaneity 18th March 2023
- “Theatre Is King”: The 2023 Kenya Theatre Awards 17th March 2023
- Broadway Bodies: An Interview with Ryan Donovan 15th March 2023
- You Came to See the Obscene?—”2020: Obscene” 13th March 2023
- Bjørg Vik’s “The Journey To Venice” At the Finborough Theatre: Norwegian Memory Play Is Tender If Slight 13th March 2023
- Art and Tech Imaginings of Kat Mustatea 10th March 2023
- Remembering A Silenced Teacher: Xavier Bobés And Alberto Conejero’s “El Mar. Visión De Unos Niños Que No Lo Han Visto Nunca”/”The Sea. Vision Of Some Children Who Have Never Seen It” 8th March 2023