Shakespeare Archives - Page 8 of 10

Two Shakespeare Adaptations in Iran

Posted by Ali Pour Issa | 26th Apr 2017 | Adaptation, Iran

How do Iranian artists adapt Shakespeare’s drama? The Iranian directors, Mohammad Aghebati and...

Why Decolonization Means The Possible End Of Shakespeare In South Africa’s Schools

Posted by Natasha Joseph and Chris Thurman | 17th Apr 2017 | South Africa, Theatre and Decolonization, Theatre for Young Audiences

South Africa’s education authorities are reviewing the school curriculum. Basic Education Minister...

How “Cutting Up” Shakespeare’s Plays Can Be An Act Of Creative Destruction

Posted by Bruce Smith | 11th Apr 2017 | Adaptation, United Kingdom

The Brooklyn Academy of Music (BAM) has been the site of many creative adaptations of...

Tamsin Greig’s Gender-Bending Performance in “Twelfth Night”

Posted by Elizabeth Schafer | 3rd Apr 2017 | Theatre and Gender, United Kingdom

In 1602, a law student called John Manningham saw Twelfth Night, or What You Will, and wrote what...

Romeo, Juliet, and You: CoLab Theatre is Back Challenging the Bard with Interactivity

Posted by Aida Rocci | 2nd Apr 2017 | Dramaturgy, Immersive Theatre, London, Review, United Kingdom

“But he which bore my letter, Friar John, Was stay’d by accident, and yesternight...

“Hamlet” at the Tokyo Metropolitan Theatre

Posted by Nobuko Tanaka | 1st Apr 2017 | Japan, Transcultural Collaborations

John Caird is widely known as the co-director with fellow Englishman Trevor Nunn of Les...

“Unknown” Polish Directors: Introducing Jacek Głomb

Posted by Kasia Lech | 18th Mar 2017 | Directing, Essay, Poland, Theatre and Politics

This series continues to introduce Polish directors recognised in Poland and relatively unknown...

Conversation With Iván Pérez, The Founder of INNE and Choreographer for Song of the Goat Theatre

Posted by Tomasz Wiśniewski | 17th Mar 2017 | Adaptation, Interview, Poland, Theatre and Dance

In 2016 Song of the Goat Theatre celebrated the twentieth anniversary of its existence. Founded by...

Masami Teraoka + Pussy Riot Choreographer Viktoria Naraxsa in Hawaii

Posted by Lauren Deutsch | 16th Mar 2017 | Hawaii, Participatory Theatre, Review, Russia, Theatre and Art, Transcultural Collaborations, United States of America

Internationally acclaimed Japanese-American visual artist Masami Teraoka invited Pussy Riot...

A New Version of Christopher Marlowe’s “Tamburlaine” by Yellow Earth Opens in London

Posted by Mary Mazzilli | 15th Mar 2017 | Adaptation, United Kingdom

Global Shakespeare has been a phenomenon of adaptation, translation, cultural appropriation and...

Interview With Oliver Chris: “I’ve Lived My Whole Life With People Saying ‘When Are You Going to Be Prince William?’”

Posted by Alice Jones | 13th Mar 2017 | Acting, Interview, London, United Kingdom

“I didn’t think this was what I would be doing when I left drama school,” says Oliver Chris. What...

Cheek by Jowl’s “The Winter’s Tale” – A Stone, A Woman, A Journey

Posted by Molly Ziegler | 11th Mar 2017 | Adaptation, United Kingdom

Molly Ziegler reviews Cheek by Jowl’s adaptation of The Winter’s Tale at Glasgow’ Citizen’s Theatre.

“Macbeth” Brings Double, Double, Toil and Trouble From DR Congo

Posted by Sarah Thomasson | 8th Feb 2017 | South Africa, Theatre and Opera

Third World Bunfight‘s Macbeth has been touring around the world since its premiere in Cape Town...

Theatre, Technology, and “The Tempest” – Interview With Sarah Ellis

Posted by Ágnes Bakk | 5th Feb 2017 | Interview, London, Participatory Theatre, Transmedia, United Kingdom

Sarah Ellis is the head of digital development at the Royal Shakespeare Company. She first studied...

The Year of Remembrance and Resistance: A Look at Polish Theatre in 2016. Part II

Posted by Kasia Lech | 26th Jan 2017 | News, Poland, Theatre and Politics

The year 2016 was marked by theatre artists resisting narratives imposed by the Polish government...

Building Bridges: A Transcultural Collaboration Between Spain and the UK

Posted by Aida Rocci | 19th Jan 2017 | News, Spain, Transcultural Collaborations, United Kingdom

Rodrigo Arribas (from Span’s Fundación Siglo de Oro) describes the transnational collaborative process that gave rise to his company, which has been the first to present a non-English speaking author at the Shakespeare Globe. Reflecting on the models that have arisen from the collaboration between Spain and the UK, he reflects on what differentiates and unites us in theatre.