Maria Zărnescu[1] The German State Theatre Timişoara, Romania: The Seagull (Die Möwe) by A. P. Chekhov, directed by Yuri Kordonsky, sets and costumes Dragoş Buhagiar, dramaturgy Valerie Seufert, sound design Octavian Horváth, lighting design Botond Nosz (première date: March 9,
Paper presented in Jönköping, at the Swedish Performing Arts Biennial 2013 Savas Patsalidis[1] What does not change/ Is the will to change Charles Olson, “The Kingfishers” I would like to start by quoting Susan Bennett’s assertion about theatre spectatorship and
Paper presented in Jönköping, at the Swedish Performing Arts Biennial 2013 Theresa Bener[1] In 2011, Swedish filmmaker Peggy Eklöf and I approached the Danish performance and stage auteur Kirsten Dehlholm, asking her whether she would allow us to follow the
Jönköping (Suède), le 23 mai 2013, Colloque de l’AICT, « Les arts du spectacle : idées, pratique, critiques ». Présenté en anglais sous le titre « Performing Arts – the Life, the Meaning and the Parade ». Michel Vaïs[1] À
Paper read at the International Association of Theatre Critics’ Conference. Santa Cruz, Bolivia, April 22-25, 2013. Icil Philips[1] Writing in the dark: reflecting on the work of the theatre critic My entry into the world of critiquing theatre productions began
Patrice Pavis[1] On assiste à la fois au triomphe et à l’éclatement de a à toute vérité générla dramaturgie, non seulement la dramaturgie au sens de l’écriture dramatique, mais encore l’analyse dramaturgique, cette lecture et cette préparation effectuées par le
Maria Shevtsova[1] This account concerns the third performance of The Seagulldirected by Oskaras Korsunovas with the OKT/Vilnius City Theatre as part of the 2013 Sirenos Festival held annually in Vilnius. The fact that, to date, Korsunovas has not announced the
By Randy Gener[1] Christine Evans’s You Are Dead. You Are Here. isn’t so much a war play (or an anti-war play or even a post-war play, for that matter) but a war-torn work of restorative narrative. Set in the present
By Lissa Tyler Renaud[1] There is something quintessentially American about theatre producer Alicia Hoge Adams. Pioneering, inventive, jack [or jane]-of-all-trades, visionary, expansive, intrepid. There is a restlessness. In the fine arts, she paints and sculpts; in the theatre, she is
By Tiago Bartolomeu Costa[1] Over the past 25 years the Chekhov International Theatre Festival in Moscow has been responsible for showing to Russian audiences the best productions from theatre masters from around the world. Valéry Shadrin is a proud man