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
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
Noh, Yi-Joung* Korean theatre has been caught in the middle of a historical vortex that started in 2016 and has continued into 2018. During this turbulent period, the most dramatic of scenes have played out not on the comparatively quiet
Eylem Ejder* Looking at the Current Landscape When I was writing a draft for this report, I realized that, in Istanbul, the most populated city in Turkey, more than 150 theatre productions are being staged every evening. It is quite
Tomasz Miłkowski* The significant change came in Poland almost 30 years ago: the theatre of the Real Socialism period collapsed. Artists regained their freedom: the reviled institution of censorship had disappeared, a new time of liberty was coming, including the
Mercè Saumell* According to the available data from the ICEC (Institute of Catalan Businesses of the Catalan Government), in its 2017 report[1], there are 165 professional companies and 164 theatre buildings available (of which 70% are public, 22% private and