Michel Vaïs* Lepage étant fort occupé en juillet, août et septembre 2014, et ne pouvant trouver le temps d’une rencontre en face à face, j’ai décidé de lui adresser quatre questions sur la critique auxquelles il a bien voulu répondre
by Manabu Noda* Oriza Hirata (b. 1962), playwright, director, theatre theoretician and educator, is a key figure in the Japanese theatre scene, winning numerous awards both in Japan and abroad. He founded his theatre company Seinendan (meaning “youth league”) in
by Yun-Cheol Kim* Sir Jonathan Mills AO[1] is a prominent Australian-born, composer and festival director, who resides in the UK. In the 1990s he worked in the Architecture Faculty of RMIT University in Melbourne, Australia, leading courses in acoustic design.
by Yun-Cheol Kim[1] 12 Aug 2014, at National Theater Company of Korea YCK: As you know, the critical space in places such as theatre journals and the press has been radically reduced. I think several factors have brought about the
by Judit Csáki[1] Róbert Alföldi (actor, director) was the director of Hungary’s National Theatre from 2008 to 2013; he was only 41 years old. His term saw a sharp turn in politics after the Fidesz party’s 2010 election landslide. This
By Margareta Sörenson[1] Today, Mats Ek is one of the most appreciated choreographers in the world, and since returning to theatre in the 1990s he has been praised for his reinterpretations of classical dramatic plays with the addition of dance.
Propos recueillis par Savvas Patsalidis[1] Yannis LEONTARIS est né à Athènes en 1965. Agrégé de Lettres et Docteur en Littérature Comparée (PARIS-X NANTERRE), il est actuellement Professeur Assistant au Département de Théâtre de l’Université du Péloponnèse (Grèce). Entre 1989 et
by Lissa Tyler Renaud[1] The success of Tony Taccone’s career might offer hope and inspiration to directors in “tributary” arts communities everywhere. Taccone spent the years 1981-88 as head of San Francisco’s small, experimental Eureka Theatre, a theatre quite the
by Lissa Tyler Renaud[1] Looking at Ellen Margolis’s professional life, it would be easy to think that the playwriting profession is not a difficult one in America. In fact, it is a credit to her enormous gifts and discipline that
Instead of simply pointing out the shortcomings of the production under review, the critic could suggest better alternatives to solving them, says Finnish dramaturge Juha-Pekka Hotinen. by Matti Linnavuori[1] Juha-Pekka Hotinen’s activities have taken him to more vantage points concerning