Par Jean-Pierre Han 96 pp. Paris: Carnets de Friction, 2015 Compte rendu de Zoé Ververopoulou* (Grèce) Il suffit de parcourir le CV de Jean-Pierre Han pour constater que ses préoccupations théoriques, telles qu’elles se dégagent de l’ouvrage Critique dramatique et
By A.O. Scott 260 pp. New York: Penguin Books Reviewed by Robin Breon* (Canada) A.O. Scott has been the lead film critic for the New York Times since 2004. The son of two academics—his mother is a Professor of Social
Deborah Jowitt* During my first decades of writing dance criticism, I, like many of my colleagues, was influenced by Susan Sontag’s collection of essays: Against Interpretation.[1] I decided to focus on movement and form and my own responses (unless the
Jean-Pierre Han* Un vent de folie s’est emparé cette saison de notre théâtre en France. Un vent de folie qui a charrié dans un très court laps de temps (le seul mois de janvier) plusieurs mises en scène de Richard
Shen Lin* This paper provides a few examples to indicate how Chinese artists have put Shakespeare to various uses, from the old country’s semi-colonial and semi-feudal past to its market-oriented present. A century ago, Shakespeare arrived in a China seized
Anna Stavrakopoulou* Conceived, Directed and Adapted by Michael Marmarinos in collaboration with Rokuro Gensho Umewaka Set design Eva Manidaki Lighting Design Eleftheria Deko Sound Design Kostas Bokos – Studio 19st [sic] Stage Manager Masaharu Tabikawa Assistant Set Designers Myrto Megaritou, Thalia Melissa Photo Credits: Evi Fylaktou On Saturday, July 25th 2015,
John Elsom* I want to enter a large subject through a side door: Shakespeare’s puns. Richard Eyre, once the director of our National Theatre, was asked by his tutor at Cambridge, Kingsley Amis, whether he found the jokes in Twelfth
Maria Tsouvala* and Katia Savrami** The power of naked Naked or nude, the human body has been a source of creative inspiration in all forms of art, from painting and sculpture to theatre, film, performance art and body art,
Noelia Hernando-Real* Spain tour, 23rd-24th October 2015, Corral de Comedias de Alcalá de Henares; 29th October – 1st November 2015, Teatro de La Abadía, Madrid, Spain In its six years of life, BE Festival (Birmingham European Festival) has consolidated its
Vikram Phukan* Contemporary theatre practice in India is perennially inchoate. Catching the wind, in whichever direction it blows, is par for the course for practitioners constantly playing catch up with the shifting signposts of arts advancement elsewhere in the world,