Writingshop* Post-dance first unfolded as a conference in MDT in Stockholm, 14-16 October, 2015, created by Danjel Andersson, Andre Lepecki and Gabriel Smeds, and was followed by a multi-authored publication co-edited by Andersson, Mette Edvardsen and Mårten Spångberg (March 2017)
Ajay Joshi* Abstract: There was a lone chair against the backdrop of a blank wall. A young man sat on it. We, the audience, sat around in a semicircle facing him. He was smiling at people, making small talk. This
Natalia Tvaltchrelidze* Abstract: The paper is about the history of productions of Shakespeare’s plays in Georgia. It discusses how Shakespearean plays were staged to fight against the Russian Empire and, later, the Soviet rule. In particular, it elaborates on how the
by Azadeh Sharifi* Politik im Freien Theater (politics in the independent theater) is a theater festival in Germany which was founded 1988 by Die Bundeszentrale für politische Bildung (Federal Agency for Civic Education). The festival emerged from discussions to open
by Deepa Punjani* Big theatre festivals are often written about, but there are little theatre festivals which, in their own distinct way, become hubs of creativity, enterprise and, sometimes, excellence. One such little festival in India is the Vinod Doshi
Noémi Herczog* The aim of this article is to give a rough sketch about new tendencies in the Hungarian contemporary performing arts over the past couple of years, and also to give a sense of the social-political context of contemporary
Kalliopi Exarchou* Résumé: Dans le contexte de la crise de l’humain aujourd’hui, Pommerat ose s’aventurer sur le terrain de la solitude et de la souffrance. Il interroge la vie, mais il le fait, en la montrant, sans parler de bien
Derek McCracken* He Brought Her Heart Back in a Box, by Adrienne Kennedy. Featuring Juliana Canfield and Tom Pecinka. Director: Evan Yionoulis; Set Designer: Christopher Barreca; Costume Designer: Montana Levi Blanco; Lighting Designer: Donald Holder; Composer/Sound Designer: Justin Ellington; Video
Bonjana Janković* Instead of an opening point, I propose the title: to claim that to examine UK theatre is to question its position on and in Brexit. Anything else absolves theatre of political agency and responsibility, while negating that the
Maria Hamali* The course of contemporary Cypriot theatre is inextricably linked—as is the case with all forms of art—with the modern history of the country. The island of Cyprus gained its independence as late as 1960 following an armed struggle