Irène Sadowska-Guillon* Reykjavík de Juan Mayorga, mise en scène de l’auteur, scénographie Alejandro Andujar, lumières Juan Gomez Cornejo, musique Mariano Garcia. Avec Daniel Algaladejo, Elena Rayos, César Sarachu. Créé le 27 mars 2015 au Teatro Palacio Valdés à Avilés, repris
Maria Zărnescu* International NETA Theatre Festival, unique edition at I.L. Caragiale National Theatre of Bucharest, Aug. 28 to Sept. 4, 2015. “Europe today is a powder keg and the leaders are like men smoking in an arsenal. . . .
Ludmila Patlanjoglu* The Tempest by Shakespeare, directed by Alexander Morfov, set by Nikola Toromanov, lights by Chris Jaeger, costumes by Andrada Chiriac, choreography by Florin Fieroiu, soundtrack by Alexander Morfov, musical training by Lucian Maxim. Bucharest National Theatre, premiere April
Matti Linnavuori* Two productions by Juha Hurme. Operaatio Paulaharju in the Lemmenjoki national park in Finnish Lapland, August 2015. Muuttomiehet at KOM theatre in Helsinki, premiere September 16, 2015. Juha Hurme (born 1959) sleeps in a tent for a hundred
The Swedish Biennale for Performing Arts in Malmö, Sweden, May 2015. Jay Handelman* We have long been told that “life is a circus,” but how often does the circus actually reflect real life, or the issues that can divide us
Russian Case Festival, Moscow April 2015. Ian Herbert* Every spring, Moscow stages its Golden Mask festival, the Russian equivalent of the Molières or the Tonys, with several weeks of performances from the nominees of the best shows from the previous
Tbilisi International Festival of Theatre. Du 5 au 8 octobre 2015. Jean-Pierre Han* Resserrée dans le temps – elle ne dure que quatre jours –,la vitrine du théâtre géorgien qui clôt le programme international du Festival de théâtre international de
Divadlo Festival in Pilsen, Czech Republic, September 2015. Max Wyman* The curators at the International Theatre Festival 2015 in Pilsen, in the Czech Republic, deny they intended to identify trends in the region or to present a series of plays
Isabella Rothberg* Theatertreffen in Berlin, Germany, May 2015. Just a couple of weeks before Elfriede Jelinek’s play Die Schutzbefohlenen opens Theatertreffen, yet another tragedy on the Mediterranean sea hits the headlines. This time eight hundred people died after a boat
A review of the Tbilisi International Festival of Theatre, 2015 Mark Brown* To talk of Georgian theatre in an international context is, first-and-foremost, to talk of the country’s national theatre, the Rustaveli, and of its acclaimed, longstanding artistic director Robert