Maria Zărnescu[1] Georgian Showcase in Tbilisi, Georgia, October 5—8, 2013. Part of the Tbilisi International Festival of Theatre, the Georgian Showcase, has reached its 5th edition. Organized in collaboration with the Georgian Section of the International Association of Theatre Critics,
Hijda (The Transgender), written and directed by Saggherr Loadhii, an alumnus of the Department of Performing Arts, University of Pune, State of Maharashtra, India. Premiere November 2013. Ajay Joshi[1] It is not often that one dares to—or should I more
Isabella Rothberg[1] Theatertreffen in Berlin, Germany, May 2014. A horse, a group of child actors, and the mystery of Kaspar Hauser. Alvis Hermanis’ outlandish theatre performance is one of the crown jewels of Theatertreffen 2014, the best of the preceding
Touche, de Fabio Alessandrini et Carlo Tolazzi. Compagnie Teatro di Fabio. Tournée : février 2014 à la Comédie de Picardie, à Amiens ; du 6 mars au 3 avril 2014 au Théâtre Douze, Paris 12e ; les 13 et 14
Manabu Noda(Japan)* A Finnish fellow theatre critic, Matti Linnavuori, once told me that middle-aged and older Finns have a lovely way of saying “How are you doing?” He gave me a good English translation, which goes like this: “Aren’t you
Cristina Modreanu(Romania)* In a lecture given at Brooklyn Academy of Music in 2013,[1]American philosopher Simon Critchley advanced the idea that artists working collectively nowadays should aspire to obtain through their art “an intensification of the possibility of truth.” The phrase
Matti Linnavuori(Finland)[1] If we critics are to survive, we should also get paid for what we do. In the internet, this is rarely the case. Meanwhile, the traditional print media no longer feels that carrying arts coverage adds to its
Georges Banu[1] « Au théâtre comme en poésie, on y entre par effraction. On y arrive brutalement pour qu’ensuite, tout d’un coup, on se demande : « Mais où était la porte ? » Wajdi Mouawad Aucun auteur n’aime être
Tanya Déry-Obin* La question de l’application des théories postcoloniales à la littérature québécoise repose sur un malaise, sinon un malentendu, sur l’histoire coloniale du Québec. La littérature québécoise reste en effet marginale au sein des études francophones et postcoloniales. Si
Alvina Ruprecht* Depuis quatre ans, Jean-Michel Martial, acteur, metteur en scène guadeloupéen et directeur artistique de la Compagnie L’Autre Souffle, travaille sur le Théâtre Caraïbe, le Répertoire, un vaste projet devenu entreprise collective, où les membres de la Compagnie L’Autre