The Revolution of Tragedies: An Interview with Romanian Director Andrei Majeri
During the very agonic and snail-slow, first foggy year under COVID of 2020, I met theater...
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Romania
Independent Theatre in Romania: “You Can’t Change the System from the Inside”
Founded in 2015, Theatre Arts Group (TAG) is an independent theatre company in Romania that trains...
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“Youth Everlasting and Life Without Death”: Performing Folk-tale and “Centriphery”
A Theoretical and Organizational Premise “Centriphery” is an on-going large-scale...
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Disrupting Taboos, Staging Cancer: Snowdrops and Chlorine’s Eruptive Intervention
The following review is based on the Snowdrops and Chlorine script, which differs slightly from...
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Performativity and Worldmaking: An Interview with Chiel M. Kattenbelt
This interview was made within the framework of the exploratory research project rethinking...
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An Interview with Romanian-Born, Award-Winning Playwright, Poet and Scholar Saviana Stănescu
In the past five months, Romanian-born award-winning playwright, poet, and scholar Saviana...
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“Bun de Export:” A Personal Exploration of Romanian Migration
That the hallway beside the theatre is filled to its breaking point is a good sign: artists,...
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Iasi Theatre Festival for Young Audiences: “153 Seconds,” A Documentary of Contemporary Tragedy
The exposed nerve of a reignited public tragedy hangs in the ether of Teatrul Luceafărul Iaşi. We...
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Zilele Teatrului Matei Vişniec/Festival of the Matéi Visniec Theatre in Suceava (Romania), Or Breaking Into the Festival Circuit
Arguably, it is not common practice to name a theatre after a living playwright, and neither is to...
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Herta Müller’s “Niederungen” and The Dramaturgy of The Body
The talented Romanian director Mihaela Panainte adapts Nobel laureate Herta Müller’s visceral...
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Interview with Saviana Stănescu: “One could say that I am a 17-year-old American playwright”
A well-known poet and journalist, Saviana Stănescu left Romania for the US thanks to a Fulbright...
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Puccini’s “Turandot” In Galati: From The Fairy Tale To The Inner Life
In 2018, the Nae Leonard Teatrul Muzical in Galati, Romania, was declared the National Opera...
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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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A New Approach To Subtitling
Finding poetry in technology: theatre = yet tears Shall we take it as a bad omen that Siri is...
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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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