Maria Zărnescu [1] International Shakespeare Festival in Craiova, Romania, 9th edition, April 23–May 4, 2014. I don’t know of what “stuff” The International Shakespeare Festival in Craiova is made. I don’t know when the idea occurred to Emil Boroghină[i] to
Irène Sadowska-Guillon [1] Los Justos (Les Justes) d’Albert Camus, traduction José Ariera, adaptation de José A. Perez et Javier Hernandez Simon, mise en scène de Javier Hernandez Simon. Au Teatro Español (Naves del Matadero) à Madrid. Du 1er au 26
Selim Lander [1] Gaël Octavia, Cette guerre que nous n’avons pas faite, Carnières-Morlanwelz (Belgique), Lansman, 2014, 34 p. Jean-Durosier Desrivières, La Jupe de la rue Gît-le-Cœur, Carnières-Morlanwelz (Belgique), Lansman, 2014, 49 p., avec un Avant-jeu de l’auteur et un Après-jeu
Lissa Tyler Renaud [1] The Cherry Orchard, by Anton Chekhov. Dir. Vladimir Sergeyevich Petrov. Venue: Central Academy of Drama, Beijing, China. Company: Faculty production. Premiere: September 9, 2014. The Central Academy of Drama in Beijing has an idea more conservatories
Malcolm Page [1] Adelaide Festival, Australia, 2014. Adelaide Festival, in the first two weeks of March, is the biggest Australian cultural festival, with a tradition of programming major shows on the world circuit accompanied by the planet’s second biggest Fringe
Matti Linnavuori [1] Interferences Festival at the Hungarian Theatre of Cluj, Romania. Nov 26 to Dec 8, 2014. The Hungarian Theatre Company of Cluj-Napoca in Romania hosts the biannual festival Interferences. The theme of the 2014 edition was Stories of
Brecht Days 2015. Brecht & the Natural Sciences. Literaturforum im Brecht Haus, Berlin, Germany, 9 to 13 February, 2015. Lamice El-Amari [1] The remembrance of Brecht’s birthday in 2015 was memorable! It chose a very novel theme, Brecht & the
The Festival of Epidaurus in Greece (July-August 2014). Grigorios Ioannidis [1] The Greek Festival emerged in the 1950s as a response to the artistic demands of the time for a revival of ancient drama. Its fundamental objective was to attract
Brad Hathaway [1] Like most good theatre critics, I am a theatre maven, a theatre junkie, a theatre lover. I went into theatre criticism in order to spread the word about good work—to support quality theatre—and to help audiences find
Stéphane Gilbart [1] Je suis critique de théâtre et j’ai de la chance. Depuis plus de 20 ans, j’écris dans un journal quotidien luxembourgeois, le Luxemburger Wort. Dans un tout petit pays de 500 000 habitants, dont 150 000 étrangers,