By Tina Peric* Erika Fischer-Lichte is one of the world’s leading theoreticians in theatre and performance studies. Her examination of fundamental theatrical concepts, such as presence and embodiment, and the introduction of new concepts, such as “autopoietic feedback loop” and
Introduction: The Sky, the Night, and the Glorious Male Voices Karen Fricker* The year 2016 marked the 70th edition of the Festival d’Avignon. In addition to its expected season of productions, the Festival recognized this anniversary with Le ciel, la
Lissa Tyler Renaud* Deliberate work of the mind, imagination, and hand… in the long run remakes the world. – Edmund Wilson Agitating for both arts and protest literacy, there is something essentially theatrical about everything Zarina Zabrisky does. Even standing in
Propos recueillis et traduits de l’espagnol par Alvina Ruprecht* Juan Carrillo, directeur de la jeune troupe mexicaine Los Colochos, responsable de la mise en scène et coauteur de cette nouvelle version de Macbeth, m’a accordé cet entretien à la Casa
Azadeh Sharifi* and S. E. Wilmer** The motivation to edit a special section on theatre and statelessness evolves from the urgency of the outrageous circumstances so many refugees are facing, even though some of them are now “safe” in Europe.
Johannes Birringer* The view is blocked. Imagine not necessarily seeing or having seen the goings-on. Thus the following essay should not be considered a review of performances, or a theory of the difficulty of hearing/understanding, but mostly a series of
Rosanna Jahangard and Kate Duffy* (Phosphoros Theatre) In the summer of 2015, three young refugee men approached their housing Key Worker to say that they had stories they wanted to tell, that they thought they were funny and wanted to
Zafiris Nikitas* Theatre of Reality Anestis Azas is an acclaimed Greek director working in Greece and other areas of Europe, especially Germany. He works alone but also as a duo with director and actor Prodromos Tsinikoris. These two directors have
Anika Marschall* In events such as the war in Syria, the genocide and persecution of Christians in Iraq, or the heavily reported drowning of many refugees[1] near Lampedusa—making the island’s name a catchphrase for the failures of European immigration policy—different
Ralf Remshardt* Nicolas Stemann’s production of Elfriede Jelinek’s text Die Schutzbefohlenen, at the 2015 Berlin Theatertreffen, began with, perhaps, the most overworked gesture of intermedial theatre: as the audience entered, a live feed flickered on monitors around the auditorium, while