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Waking Up in the Spotlight with “The Unusual… by Alexander Fatouros 24th March 2026 “Figures In Extinction:” A Dance Trilogy Report by Maria Wojtan, Magdalena Borowska, Natalia Rutkowska, Barbara Herbasz 17th March 2026
“The Devil Wears Prada” and Other… by Lisa Monde 8th February 2026
From Shakespeare To Contemporary Montenegrin… by Ivanka Apostolova Baskar 25th March 2026 Tim Crouch’s “The Tempest” at The Globe by Duška Radosavljević 1st April 2026
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Recent Posts
- David Yazbek: The Master of Adapting Films into Musicals. An Exclusive Interview 2nd April 2026
- The Auto-fictional Mode As A Variation Of Biographical Material In The Theatre 1st April 2026
- Tim Crouch’s “The Tempest” at The Globe 1st April 2026
- On Fire: Luciana Acuña’s “Bailarinas Incendiadas” (Dancers in Flames) 29th March 2026
- The 2026 International Ibsen Award: A Reflection On The Winner By The Committee 27th March 2026
- Sibling love and loss: Alfredo Sanzól’s new play at Madrid’s Teatro María Guerrero 26th March 2026
- Moving Emphasis On Tolerance And Courage In “Nasser # 7 Leben” At The Schnürschuh Theater Bremen 26th March 2026
- From Shakespeare To Contemporary Montenegrin Authors, I Aim To Connect With Society Through The Works I Choose 25th March 2026
- New York City Fringe Begins April 1 25th March 2026
- To speak out or not to speak out?: Claudio Tolcachir directs “Mejor no decirlo/You Shouldn’t Have Said So” at Barcelona’s Teatre Goya 24th March 2026











