Mihail Baykov[1] August Strindberg: Miss Julie, directed and performed by Anna Pettersson. A production of the Intima Theatre of Stockholm, Sweden at Varna Summer Festival in Bulgaria, June 2012. Original premiere April 2012. In 2012, when the whole world is
Yun-Cheol Kim[1] Stage Helsinki Theatre Festival 2012, Finnish Case, August 16-19, Helsinki, Finland. I attended this Finnish Case/Stage Helsinki Theatre Festival and saw six shows. Of course it is outrageous to generalize about contemporary Finnish theatre based on these six.
Ian Herbert[1] Draama, Annual Showcase of Estonian theatre, Tartu, September 2012. The final performance in this year’s Draama festival in Tartu was The Avantgardist, a curious ritual devised by Johannes Veski in which two bowler-hatted gentlemen in cutaway suits took
Savas Patsalidis* Theatre, as the most public of the arts, is second cousin to politics. Rachael Samuel You are the subject matter. You are the center of interest…. You are the event. Peter Handke, Offending the Audience Weakening spectatorship What
Brent Meersman[1] I The title of this symposium appears problematic – “Theatre beyond theatre.” Is this paradoxical expression ‘theatre beyond theatre’ actually a non sequitur? Does it not by implication define theatre rather too narrowly? Is it not in danger
Michel Vaïs[1] Au Québec, des expériences théâtrales hors-les-murs se multiplient depuis quelques années, et parmi celles-ci, il y a beaucoup de manifestations dites « ambulatoires », où le public est amené à se déplacer. Je vais évoquer quelques unes de
Magdalena Gołaczyńska[1] In the Lower Silesian theatre of the early 21st century the directors from Wroclaw and Legnica create their own “site specific theatre,” beyond the institutional theatres and recognized cultural centres. These are places far from the velvet seat
Maria Helena Serôdio* As early as 1996, in London, during a period of actor training, Luís Castro (born in 1961 in Mozambique) tried in Comb, at Smith’s Gallery (in Convent Garden) and I.C.A. (Institute of Contemporary Arts), an approach to
Manabu Noda* This paper is an attempt to offer a tentative theoretical framework for the discussion of the fabric of traditional theatre – what it is made of – and a possible approach that it will permit in our times.
Margareta Sörenson[1] The centennial of the Swedish author Strindberg’s death is as loaded with different perspectives and contradictions as the life of the author was itself. The commemoration got off to a poor start as the Swedish (right wing-liberal coalition)