by Penelope Chatzidimitriou* Theodoros Terzopoulos, the founder of Attis Theatre Group (1985 at Delphi), is a globally acclaimed Greek theatre director, a cosmopolitan artist in an emerging world of multinational fora and, at the same time, invisible authoritarian rule. His
Ulrich Meyer-Horsch* I am sitting in the theatre, watching a performance of a classical play, directed by a famous director. The theatre and the actors have a good reputation. The play is strong; but tonight I am quite bored. What
James Haffner* Introduction Training opera singers to be singing actors has often been regarded as a difficult task. Psychological realism does not effectively serve the genre; traditional techniques do not adapt well consistently to the unique demands placed on opera
David Zinder* The eye of the artist concentrates on his pencil, the point moves, and the line dreams. Paul Klee ImageWork Training is a comprehensive form of image-based psycho-physical training which I have been developing for the past forty years.
Lenka Pichlíková* As a teacher of dramatic arts, professional actor and mime, who is also a theatre historian, I come to the study of Michael Chekhov’s career and pedagogy “on the lookout” for aspects of his technique that I can
Lisa Dalton* Michael Chekhov’s approach evolved over a lifetime on three continents through extraordinary socio-political-technological change. His writings, recorded lectures and the notes taken of his live teaching are very extensive. Like the famous story of the group of blind
Claudia Provvedini* At Piccolo Teatro of Milan: Sorelle Macaluso / Operetta burlesca by Emma Dante; Sanghenapule by Mimmo Borrelli and Roberto Saviano; Masculu e Fiàmmina by Saverio La Ruina; Bestie di scena by Emma Dante. For a few seasons now,
by Andrew Kaggwa* Asiimwe Deborah GKashugi one is one of those prolific playwrights whose name will not be missed out if people are talking about Ugandan theatre of the past ten years. Although, when you talk to the dramatist, she
Christiane Makward* On va tout dallasser, Pamela ; Histoires de drague à l’africaine. Conception et mise en scène : Marielle Pinsard. Assistante à la mise en scène : Marion Noone. Scénographie : Yves Besson. Lumières : Gérald Garchey. Costumes : Séverine Besson. Musique : Grégory Duret. Chorégraphies :
Irène Sadowska* El cartógrafo (Le cartographe) de Juan Mayorga, mise en scène Juan Mayorga, scénographie/costumes Alejandro Andujar, lumières Juan Gomez Cornejo, musique et espace sonore Mariano Garcia, distribution : Blanca Portillo – Blanca, Niña, Deborah ; José Luis Garcia-Perez – Raúl, Samuel,