What Will You Do This Summer? On An Interdisciplinary Summer Camp In Warsaw
Krzysztof Warlikowski’s Nowy Theatre in Warsaw together with Komuna/Warszawa, La Comedie de...
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Germany
Audience Development – Empowering Youth Through Theatre: Theatre Not Only For, But With the Youth
Youth Theatre – Audience Development A Conversation with the Youth Council of the Deutsches...
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Experimental Forms and Performative Research: When the Classroom Learns to Fly
In his 1993 work A Flying Classroom, the German author Erich Kästner created a vision of a...
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Perspectives on the Internationalization of Theatre: An Interview with Thomas Irmer
Thomas Irmer is a scholar, dramaturg, and critic regularly contributing to Theater der Zeit,...
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Experimental Forms and Performative Research: How to Develop Games in (a) Theatre?
First things first: Be aware of the problems you create for the audience, a.k.a. the player, and...
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“The House of Sorrow” – Jisun Kim
Consciousness, cognition, and perception have fascinated Jisun Kim and The House of Sorrow is a...
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Performing Again: An Interview With Michael Vogel And Familie Flöz At Schiller Theatre
Led by artistic directors Hajo Schüler and Michael Vogel, Berlin-based “Familie Flöz” is one of...
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Listening in Detail – Alma Söderberg
Theatres remain closed, so instead of publishing reviews of new pieces, Etcetera asked artists to...
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Nils Haarmann On The Pandemic And Post-Pandemic Theatre
Nils Haarmann – dramaturg at the Schaubühne – responds to Grzegorz Jarzyna. The discussion focuses...
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Theatre United Against a Shift to the Right
Pressure on the German theatre and cultural landscape has increased significantly since the...
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Stage Design: Tradition of Diversity
Germany has more theatres and concert halls than almost any other country in the world. From its...
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The Crisis Stage
In times of crisis, we see just how closely reality and fiction really are. What seemed like a...
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Alice Birch and Katie Mitchell’s “Orlando” at the Schaubühne Theatre: Queer Desire on the Big Screen
Virginia Woolf’s reputation has closely followed British cultural trends: in the interwar years...
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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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Who Am I, The Author? But Who Is The Author?: An Interview With Ulrike Syha
Ulrike Syha was born in 1976 in Wiesbaden, Germany. She studied Dramaturgy at the Hochschule für...
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“Judgement Day”: Illusions of Grandeur
Two years ago, the British director Richard Jones brought a stunning production of Eugene...
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Bodily Dressage: Cruel and Optimistic Pleasures of the Speaking and Moving Body
Researcher and critic Lisa Moravec explores how two performances of this year’s ImPulsTanz,...
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“History of Violence” and How Your iPhone is a Culprit
First of all, don’t be put off by the pompous, academic title. Thomas Ostermeier’s...
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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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“The Eighth Life (for Brilka)”: Dark Chocolate
The Eighth Life (for Brilka) or Das achte Leben (Für Brilka). Adapted by Julia Lochte and Emilia...
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