Andrzej Żurowski* The characteristic feature of contemporary theater understood as an international phenomenon, the feature which determines the unique specificity of contemporary performance art is, without a doubt, the mutual interpenetrating of performing styles and cultural conventions. The essence and
Ian Herbert[1] Not long ago I was at the Barbican Centre in London, watching a performance in Japanese of Shun-Kin, an adaptation by the Englishman Simon McBurney of stories by the Japanese Jun’ichiro Tanizaki. It was enthusiastically received by a
Yun-Cheol Kim[1] I Since the 1990s, “in-yer-face theatre”–or “new European theatre” has become one of the predominant phenomena of Western theatre: it originated in Great Britain, and then spread throughout Western and Eastern Europe. This banal and violent form of