Patricia Keeney and Don Rubin[1] Résumé Comment un théâtre dont le mandat repose sur les œuvres de George Bernard Shaw explique-t-il qu’une saison puisse aussi comprendre une pièce nerveuse et « post-raciale » comme Top Dog/Underdog de Suzan Lori-Parks
Patrice Pavis* Photographer: Yong, Seong Jeon Translator: Lee, Soo Comment écrire sur le passé d’un pays asiatique mal connu, peut-être imaginaire, depuis la perspective d’un pays récemment entré dans l’hyper-modernité comme la Corée ? Telle est la gageure qu’a dû
Normunds Akots* Résumé Le célèbre metteur en scène Alvis Hermanis a monté au Nouveau Théâtre de Riga plus de dix spectacles inter-reliés sur les Lettons entre 2003 et 2010. Tout le matériau dramatique pour ces pièces, notamment les textes, a
Luís Miguel Cintra[1] Abstract / Résumé Reasoning about theatre as a more meaningful way of living and understanding life more deeply: a political statement. Une réflexion sur le théâtre en tant qu’une façon de vivre et de comprendre la vie
Interviewed by Ngozi Udengwu* Stella ‘Dia Oyedepo will be remembered as the one who kept stage performance alive in an age when that art form is believed to have met its waterloo, almost displaced by the screen and the satellite
Interviewed by Deepa Punjani* Ramu Ramanathan is an Indian playwright-director with acclaimed plays to his credit. His latest play Comrade Kumbhakarna has been produced by the National School of Drama’s Repertory, and is touring all-over India. Ramanathan’s work bears an
Interviewed by Randy Gener* The playwright and librettist Ruth Margraff has been called a leader in the new opera movement in America. Margraff, who is an associate professor of writing and playwriting at the School of the Art Institute Chicago,
Interviewed by Nelko Nelkovski[1] Srdjan Janićijević (born in 1970) is a Macedonian theatre director from the middle generation who, with his fresh way of thinking and his innovative approaches, plays an important role in late postmodern theatre in the Republic
Interviewed by Randy Gener[1] Thanks to a growing international reputation, German-language stages may now claim a new star on their marquees: a popular new dramatist who has taken his place alongside such favorites as Shakespeare, Goethe, Schiller and Ibsen. His
Interviewed by Ioana Moldovan* The Romanian actor and theatre director Ion Lucian was born on April 22, 1924 — a time when Romania was a different country, and its capital city, Bucharest had just begun to resemble Paris, the marvelous