The Re-Invention Of Subtitling. A New Technical Approach To The International Market
“Pour bien faire, il faudrait un film qui tournerait la traduction intégrale (de la pièce) à la...
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Art And Character, Or: I DO Care How We Go Down In History
In a very recent film awarded the Crystal Globe at the Karlovy Vary Film Festival, the Romanian...
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I Saw The Most Remarkable Production Of “Hamlet” I’ve Ever Seen And Did Not Understand A Word Of It
Hamlet And Us was developed by Laboratorul de Arta, a collective within Bucharest of dancers,...
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Romanian Theatre Today: The Postdramatic Emancipation Of The New Generation
The very moment I step into the building, great expectations surround me. If a measuring device...
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Bonnie Marranca: “It’s Up To Every New Generation To Create Its Own Institutions, Critical Discourses, And Working Methods.”
Interview by Cristina Modreanu with the occasion of the first edition of Bonnie Marranca’s essays...
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From Skopje To London Via Hungarian And English: András Visky’s “The Unburied”
In November 2017, a world premiere by one of the Hungarian language’s leading playwrights...
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Verdi’s “A Masked Ball” – A Debut For The Galati Theatre Festival
Year after year, the Galati Theatre Festival commands a prestigious position for opera theatre in...
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Bobi Pricop And The Empathetic Theatre
Each year, the Romanian higher education system supplies, through its art universities with their...
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My Translation Odyssey: Translating Alexandra Badea’s “The Pulverised”
Currently performing with the Royal Shakespeare Company, Lucy Phelps is an actor and translator...
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Marin Sorescu’s “Jonah”:–”Great, Imaginative Literature Matched With Great Theatrical Effort”
Marin Sorescu’s Jonah was originally published in 1968 and is considered the playwright’s...
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“The Pulverised” at the Arcola Theatre
In the growing xenophobic atmosphere of Brexit it is a relief to see a show from Europe, to get a...
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“Ashes Afar”–Andreaa Bortun’s Corruscatingly Intense Anatomy Of Migration
What do we mean by “home?” This is the central question posed by Romanian playwright...
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Silviu Purcărete and the Apocalypse of Us
Theatre professionals have recognised his achievements in superlative terms: “A magnificent...
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In Search of Identity. Trends in Contemporary Theatre in Romania
Historical Context Twenty‑five years after the fall of the communist regime, the performing arts...
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Theatre Review: Matei Visniec’s “What Shall We Do With The Cello?”–The Self-Versus-Everyone Of The Communist Era
In a way, communism has always been playing on the masses. There are endless things hidden within...
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The American Tour Of Contemporary Romanian Female Artists: Empowering Women
On the nights of November 18 & November 20, 2016, at Here Arts Centre, NYC, I was being...
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Romanian Women Directors Remix Ibsen. Now in New York.
Future is Feminine introduces American audiences to innovative Romanian women artists remixing...
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Gianina Cărbunariu: Documentary Theatre With Political Focus
A powerful trend in Romanian new drama in the past few years focuses on re-discovering of the...
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DramAcum Movement in New Romanian Theater
In key historical moments, theater, as the most political of all arts, is one of the best ways to...
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Bucharest International Theater Platform Prepares for Its 3rd Edition
The October 2016 edition of the Bucharest International Theater Platform will bring to Romania’s...
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