Edited and translated from Russian by Maria Shevtsova[1] Maria Shevtsova: You have had a rich life. What do you see as being the happiest period of creative work in this life? Yury Lyubimov[2] : [long pause] I am deep in
Interviewed by Manabu Noda[1] In a world that is becoming ever more multi-cultural, the voice of the Other, the whole notion of what is referred to as Alterity, becomes an important part of culture generally and an important aspect of
Liisa Byckling[1] Born in St.Petersburg in 1891, Michael Aleksandrovich Chekhov died 64 years later in the United States (1955 in Los Angeles). A nephew of the playwright Anton Chekhov and a member of the Moscow Art Theatre’s First Studio where
Lamberto Tassinari[1] Two subjects come up over and over again in the works of Shakespeare: exile and Italy. Given all the recent debate about who actually wrote Shakespeare’s plays, Lamberto Tassinari’s recent book, John Florio: The Man Who Was Shakespeare,
Savas Patsalidis[1] To be forced to leave the city-state (the home) and be exposed without the protection of government (laws), friends and family, was seen in ancient Greece as a fate worse than death. In the following essay, Greek theatre
Yana Meerzon[1] Exile as pain. Exile as difference. Exile as performative adventure. In the following article, excerpted from her upcoming book, Performing Exile — Performing Self: Drama, Theatre, Film (Palgrave Macmillan, 2012), Russian-born and now Canadian-based theatre scholar Yana Meerzon