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
Metteur en scène et auteur, une confusion risquée
Selim Lander[1] 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
A Fitting Tribute to Joaquim Benite
Almada Festival, Portugal, July 2013. Mark Brown[1] 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
Contours of Losses in Sarajevo
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
Eugene Onegin: An Ordinary Miracle
Eugene Onegin, scenes from the novel by Alexander Pushkin. The idea, literary composition and staging by Rimas Tuminas. Set design Adomas Yacovskis. Costumes Mariya Danilova. Music Faustas Latenas. Choreographer Angelica Cholinais. Lighting Designer Maya Shavdatuashvili. Vakhtangov State Academic Theatre of
Fear and Responsibility Eat Moscow
Christine Matvienko[1] The Brothers, after Visconti’s film “Rocco and His Brothers,” directed by Alexey Mizgirev; The Idiots, after Lars von Trier’s film, directed by Kirill Serebrennikov; Fear Eats the Soul, after Rainer Werner Fassbinder’s film, directed by Vlad Nastavshev. Gogol-Center,
Swedish Word Games and Identity Dramas
Biennial for Performing Arts in Jönköping, Sweden, May 2013. Halima Tahan Ferreyra[1] Even though I have witnessed many performances from Sweden, they have been isolated ones, presented in the context of foreign festivals, whereas the Biennial for Performing Arts was
An Elite Festival: National Companies Play their Classics
Ludmila Patlanjoglu[1] MITEM—Madách International Theatre Meeting in Budapest, Hungary, March 26th—April 6th 2014. MITEM—Madách International Theatre Meeting, the festival launched by the National Theatre of Budapest, met with the approval of both specialists and audiences. The superb architectural environment of
Crime, But Not Much Punishment in Bratislava
Ian Herbert[1] Nova Drama (New Drama) Festival, Bratislava 12-17 May, 2014. What’s happened to sleepy Slovakia? Here’s their Nova Drama festival, the tenth, offering work that looks at political corruption by a global company, plus post-Communist angst, the drift from
Guns and Rock’n’roll in Tehran
Mohammad Rahmanian: The Last Days of Esfand (Akhar-e-Roozhay-e-Esfand), performed by Ashkan Khatibi and Ghazal Shakeri with musicians at Vahdat Hall, Tehran, Iran, February and March, 2014. Mehrdad Rayani-Makhsous[1] Mohammad Rahmanian is an Iranian-Canadian playwright and director who moved to Vancouver,