Ali Asghar Dashti & Nasim Ahmadpour – “We Came To Dance” (Kunstenfestivaldesarts)
“Can we fundamentally give a dancer an order to stop moving? […] Is dance not defined as the...
Read MorePosted by Eylül Fidan Akıncı | 20th Jun 2024 | Iran, Review, Theatre and Politics
“Can we fundamentally give a dancer an order to stop moving? […] Is dance not defined as the...
Read MorePosted by Vera Bonder | 15th Jan 2023 | Festivals, Netherlands, Participatory Theatre, Review, Theatre and Dance, Theatre and Politics
On Saturday 19 November 2022, I witnessed the performance Hands Up! by dancer and choreographer...
Read MorePosted by Aleks Sierz | 23rd Apr 2022 | London, Playwriting, Review, Theatre and Politics, United Kingdom
When do you have to take a stand? What compels you to do it? And what are the costs involved?...
Read MorePosted by Lara Cox | 18th Jun 2021 | France, Review, Theatre and Art, Theatre and Politics
History, as they say, has a habit of repeating itself. When French theatre-makers seized hold of...
Read MorePosted by Borisav Matić | 12th May 2020 | Covid-19, News, Serbia, Theatre and Politics
How did diverse balcony performances emerge in Serbia during the coronavirus epidemic and how did...
Read MorePosted by Ella Parry-Davies | 19th Dec 2019 | Immersive Theatre, Lebanon, News, Theatre and Politics, Transmedia, United Kingdom
I’m not apologizing: this is going to take time. Visit a website. Choose an image: of a bag of...
Read MorePosted by Ati Metwaly | 30th Mar 2018 | Egypt, Essay
The art practitioners, art aficionados, cultural journalists and–above all–the regular audience...
Read MorePosted by Agata Łuksza | 18th Mar 2018 | Adaptation, Croatia, Directing, Dramaturgy, Interview, Poland, Theatre and Politics
Kasia Lech (KL): How could we introduce Klątwa [The Curse] and its context to someone for whom the...
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