Dealing with a Difficult Past: Guillermo Calderón’s “Villa” at Santiago a Mil
Catching up with Guillermo Calderón’s Villa at Santiago a Mil after almost 12 years has been a...
Read MorePosted by Maria Delgado | 24th Jan 2024 | Chile, Review, Santiago a Mil 2024
Catching up with Guillermo Calderón’s Villa at Santiago a Mil after almost 12 years has been a...
Read MorePosted by John Freedman | 24th Feb 2022 | Essay, Russia, Theatre and Politics
Vladimir Putin’s decision to recognize two breakaway, Russian-backed republics in Ukraine on...
Read MorePosted by Zolima Citymag | 9th Oct 2021 | Hong Kong, Review
When Tang Kwong-san and fellow Hong Kong artist Yuen Nga-chi first visited Tung Ping Chau a few...
Read MorePosted by Maria Jovita Zárate | 10th Mar 2020 | Adaptation, Philippines, Review, Theatre and Politics
In Orteza’s and director Sigion-Reyna’s Katsuri, representations of sacada (sugar farmers in the island of Negros) veer away from the typical, almost iconic, images of the sacadas as rendered by the social realist painters of the 70s— hoodied heads, a pair of eyes peering from layers of cloth wrapped around their faces, and hunched bodies. Katsuri’s stage harbored a diverse group of farmworkers housed in a kuwartel (quarter, usually of horses), carrying their own physicalized expressions of angas (spunk), a thin cache of spunk that fizzles out when the hacienda foreman and his overbearing son swing by to make routine inspections.
Read MorePosted by Krisztina Rosner | 17th Mar 2019 | Interview, Japan, Participatory Theatre, Transmedia
teamLab, founded by Toshiyuki Inoko and several of his friends in 2001, is an art collective, an...
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Chekhov’s “Uncle Vanja”, directed… by Duška Radosavljević 14th April 2026 
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