Liang Yan** Postcolonial Affairs of Food and the Heart by Yesi, performed by On&On. Director: Chan Ping-chiu. Adaptation Playwright: Chan Ping-chiu. Original text: Postcolonial Affairs of Food and the Heart (2009), author: Yesi. Company: On&On. Premiere: Studio Theatre, Hong Kong Cultural
Benny Lim* I moved to Hong Kong to take up a faculty position in 2013. Prior to my relocation, my understanding of Hong Kong’s theatre scene was mainly based on my yearly holidays to Hong Kong as well as the
Irene Moundraki* The theatre landscape in Greece is impressive. There are hundreds of productions in a single season. In fact, the season has no beginning and no end, and all kinds of venues are ready to welcome them; ranging from
Isabelle Choinière* The Body in Its Contact with Technology In this age of complexity and interaction, what possible performative aesthetic models can artists generate in resonance with the changing world of interconnectedness in which we live? This was one of
Martin Morrow* In the 1990s, Canadian playwright Sharon Pollock said something to me that has always stuck in my head. “The faces on the stage,” she observed, “aren’t the faces on the street.” I can no longer remember the exact
by Tina Peric* In 1999, almost forty years after the first experiments of Jerzy Grotowski, in the heart of the Laboratory Theatre’s space, a new movement of performance research was about to emerge. Jarosław Fret, the future director of the
Irène Sadowska* Séneca (Sénèque) de Antonio Gala. Version, mise en scène et scénographie Emilio Hernández, éclairages José Manuel Guerra, costumes Felype de Lima, musique originale Marco Rasa, chorégraphie Amaya Galeote. Avec Diego Garrido – Néron, Carmen Linares – Helvia, Esther
Selim Lander* De Meiden (Les Bonnes) de Jean Genet. Mise en scène de Katie Mitchell, avec Thomas Cammaert (Madame), Marieke Heebink (Claire) et Chris Nietvelt (Solange). Dramaturgie Peter van Kraaij, scénographie Chloe Lamford, costumes Wojciech Dziedzic, musique Paul Clark, lumière
Irina Antonova* RÉSUMÉ Elément à part entière de la scène théâtrale internationale, la Marionnette fait clairement évoluer son image traditionnelle, sous l’influence des changements interculturels et politiques agressifs qui surviennent dans les sociétés actuelles. Non seulement le théâtre de marionnettes
A conversation between Valentina Valentini* and Chiara Guidi** [Valentina Valentini] One of the foundational aspects of Italian New Theatre is the non-centrality of the text, which is seen as interchangeable with all the other languages present on stage. What were