Tomasz Milkowski in Wroclaw, Poland “Acting before and after Grotowski” was the title of the colloquium on Grotowski in the framework of the 13th Europe Theatre Prize in Wroclaw. Some may wonder if there were any hidden agenda behind the
Sebastiana Fadda[1] Il y eut d’abord la traduction d’une scène de la Cantatrice chauve en 1957 et, deux ans plus tard, un festival Ionesco à Lisbonne. Mais la reconnaissance d’une nouveauté au théâtre ne s’est pas faite sans un sursaut
By Mark Brown* La compagnie théâtrale polonaise Teatr Pieśń Kozła (Théâtre du chant de la chèvre) est située à Wroclaw, la ville de Grotowski, et trouve son origine dans son œuvre et dans celle de la compagnie Gardzienice, dirigée par
Michael Handelzalts[1] (Tel Aviv) They are usually referred to in the plural – “the critics.” But they are individuals, each one with his or her unique skills, tastes, work ethics and moral and artistic compass. People tend to accuse “the
Péter Száffko[1] Talking about theatrical commentary in a particular country presupposes some background knowledge of the theatre scene of the given country in the broadest sense of the word. Since Hungarian theatre is not really well-known beyond the borders of
Ravi Chaturvedi[1] (Jaipur) The theatre traditions of India are more than 2500 years old dating back to the Natyashastra, an ancient book on the science of theatre by Bharata Muni. Rarely looked at, however, are the references to theatre criticism
Ian Herbert[1] (London) It’s not often that critics get a chance to meet and discuss what they do, which makes the occasional gatherings of the International Association of Theatre Critics so useful. They’ve just had one in Toronto, where reviewers
Vers une histoire du commentaire théâtral professionnel Don Rubin* En octobre 2008, deux douzaines de critiques de théâtre et d’universitaires se sont réunis à Toronto pour affirmer leur intérêt à rédiger une histoire mondiale de la critique de théâtre. Il