by Andrzej Wirth 348 pp. Spector Books Leipzig, 2013. Patrice Pavis[1] Le livre d’Andrzej Wirth, Flucht nach vorne (Fuite en avant. Autobiographie parlée et matériaux), se compose d’une longue interview de l’auteur par le critique berlinois Thomas Irmer et d’un
By Yana Meerzon 350 pp. London: Palgrave Macmillan Alvina Ruprecht[1] (Canada) This minutely documented study by Yana Meerzon, an Associate Professor in the Department of theatre at the University of Ottawa, analyses the poetics of an “exilic theatre” as represented by
Par Olivier Neveux 275 pp. Paris: La Découverte Recensé par Philippe Rouyer[1] (France) Cet article ne souhaite qu’une seule chose: vous encourager à lire ce livre qui a obtenu le Prix 2013 du Syndicat professionnel de la Critique. Car, rendre compte
By Andrei Malaev-Babel 278 pp. London and New York: Routledge Reviewed by Nikolai Pesochinsky[1] (Russia) International readers may be surprised when I say that this new book – a critical portrait of Yevgeny Vakhtangov by the Russian-American scholar Andrey Malaev-Babel
By Robert W. Goldsby 222 pp. New York and London: Anthem Press Reviewed by David Littlejohn[1] (USA) It’s unusual to discover a thorough and successful book on a major playwright written by a professional performer or director. For one thing, one
By Bob Abelman and Cheryl Kushner 271 pp. New York and Frankfurt: Peter Lang Reviewed by Don Rubin[1] (Canada) It is somewhat ironic that one of the most useful little books on the art of writing criticism and on the
Wendy Rosenfield[1] Samuel Beckett’s Waiting for Godot at Comedie de Caen, directed by Jean Lambert-wild, Lorenzo Malaguerra and Marcel Bozonnet. – Pierre Corneille’s Le Cid at Cherbourg’s Le Trindet, directed by Sandrine Anglade. – Henrik Ibsen’s Ein Volksfeindof the Berlin
Selim Lander* La Double Mort de l’horloger. Adaptation de deux pièces d’Ödön van Horvath par André Engel. Création au Théâtre national de Chaillot, à Paris, du 17 octobre au 9 novembre 2013. A Director’s Risky Intrusion into the Playwright’s Territory
Almada Festival, Portugal, July 2013. Mark Brown* A theatre festival, like a river, is forever changing, yet always staying the same. At no festival in 2013 was that more true than at Festival de Almada. Portugal’s largest theatre festival‒which is
53rd edition of MESS international theatre festival in Sarajevo, Bosnia and Hercegovina, September 28 to October 7, 2013. Zala Dobovšek and Matti Linnavuori[1] Matti: Dear Zala, you and I, along with Liljana Mazova of Macedonia Fyr, were the critics’