Catharsis in the Eleventh Row: The Aesthetics of Truth on Stage and an Audience That Is Not Afraid of the Dark
The time of frozen catharsis is now. But what kind of theatre refuses purification? Theatre...
Read MorePosted by Emilija Kvočka | 14th May 2025 | Essay, Festivals, Serbia
The time of frozen catharsis is now. But what kind of theatre refuses purification? Theatre...
Read MorePosted by Margaret Rose | 18th Aug 2024 | Edinburgh 2024, Festivals, Review, United Kingdom
On this year’s Edinburgh Fringe a raft of reimaginings of Shakespeare’s plays, by emerging and...
Read MorePosted by Kate Hunter | 24th Jul 2024 | Adaptation, Australia, Review
What if significant portions of William Shakespeare’s text for Macbeth had been lost, leading to a...
Read MorePosted by Mert Dilek | 20th Dec 2023 | London, Review, United Kingdom
How to render Macbeth anew—and how to do it well? It’s a question that has undoubtedly preoccupied...
Read MorePosted by Rhiannon Ling | 22nd Aug 2022 | Adaptation, New York, Review, Theatre and Gender, United States of America
I went to theatre school. Know this before reading on. I went to theatre school, trained as an...
Read MorePosted by Praveen Sudevan | 30th Jun 2022 | India, Playwriting, Review, Theatre and Politics
For most of the last two years, Bengaluru-based actor and playwright Spatica Ramanujam was feeling...
Read MorePosted by Aleks Sierz | 2nd Nov 2021 | Adaptation, Review, United Kingdom
Remembering the months of lockdown, I can’t be the only person to thrill to this play’s opening...
Read MorePosted by Mert Dilek | 28th Oct 2021 | Adaptation, London, Review, United Kingdom
What does it take to stretch Shakespeare’s shortest tragedy to a runtime of over three hours? Not,...
Read MorePosted by Andrew Agress | 1st Mar 2020 | New York, Review, United States of America
Reading dry Shakespeare texts and going to parties at friends’ places seem like quintessential...
Read MorePosted by Taylor L. Ciambra | 21st Aug 2019 | Review, United States of America
“They [the Macbeths] have many attributes that we all share in contemporary society, including...
Read MorePosted by Franklin Ugobude | 28th Jul 2019 | Adaptation, Festivals, Lagos Theatre Festival 2019, Nigeria, Review
One of the only three curated shows showcased at the 2019 edition of the Lagos Theatre Festival...
Read MorePosted by Zabrina Lo | 17th Jul 2019 | Adaptation, Hong Kong, News
Rosalind Wong didn’t plan to win the Hecklers Award 2016 for Best Director – but she did, walking...
Read MorePosted by Poonam Trivedi | 6th Jun 2019 | Adaptation, Essay, India
The most striking aspect of Shakespeare in India today is that it seems to have at last got over...
Read MorePosted by Michael Dobson | 25th May 2019 | Asia, Essay, Transcultural Collaborations
When a weary Egeon laments in the first scene of The Comedy of Errors that in quest of his lost...
Read MorePosted by Timothy Allen | 17th May 2019 | Acting, Essay, New York, United States of America
Of the many precepts in developing a work for the stage, commonly method acting can be of the...
Read MorePosted by Hannah Lund | 19th Jan 2019 | Adaptation, China, Immersive Theatre, Review
As we neared the elevator doors, a woman dressed in a beautiful 1930s-era gown directed us to keep...
Read MorePosted by Walter Byongsok Chon | 18th Aug 2018 | Adaptation, Festivals, Interview, South Korea
Korean theatre company YVUA ARTS makes their Edinburgh Festival Fringe debut with About Lady White...
Read MorePosted by Hilary Halba | 14th Apr 2018 | Festivals, Immersive Theatre, New Zealand, Review, Transmedia
An audience assembles on the grassy margins of Prospect Park in Ōtepoti/Dunedin, New Zealand, on a...
Read MorePosted by Agnieszka Slodownik. | 29th Nov 2017 | Interview, Poland, Transmedia
With the team of Polski Theater in the underground we streamed 360-degree video from the container...
Read MorePosted by Zoe Ryu | 2nd May 2017 | Adaptation, Interview, South Korea, Theatre and Opera
Tae-sook Han’s 2016 production of Lady Macbeth, a Changgeuk (Korean traditional opera),...
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