Randy Gener[1] How is it possible that Phil Soltanoff, one of the most thrillingly imagistic directors working in the American theatre today, has yet to break out on the national scene? The reasons are complex and plenty, but certainly they
Irène Sadowska-Guillon[1] La réunification des deux Corées, texte et mise en scène de Joël Pommerat. Création dans le cadre du programme européen « Villes en scène » à l’Odéon-Théâtre de l’Europe, Ateliers Berthier, à Paris du 17 janvier au 3
Tamas Jaszay[1] At the time this essay was submitted for publication, Hungary’s independent theatres and dance companies had still not received a single penny of state support. The earliest payment deadline for 2012 grants, voted on and awarded by a
Noelia Hernando-Real[1] That the Spanish theatre has always been in a state of quasi-permanent crisis seems a shared belief, a maxim that forces the Spanish theatre to try to reinvent itself again and again, but an effort which has seemingly
Oberon Books 2012; viii + 262 pages, ISBN 978-1-84943-233-7 Reviewed by Ian Herbert[1] Little did I realise, when I smiled at the curious name of our University newspaper’s lead reporter, one Bendy Nightingale, that I was reading the early efforts
By Patrice Pavis (translation into English by Joël Anderson) 358 pp. London and New York : Routledge, 2013 Compte rendu de Philippe Rouyer[1] (France) Cette traduction reprend le texte de la deuxième édition en avril 2011 chez Armand Colin revue
Par Jan Fabre 232 p. Paris : L’Arche, 2012 Compte rendu d’Irène Sadowska-Guillon[1] (France) Performeur, chorégraphe, metteur en scène, auteur et plasticien, créateur polymorphe, Jan Fabre est un des artistes les plus controversés de la scène internationale. Tout au long
Sue Klemp[1] Taming the Wild Tongue created and performed by Micha Espinosa. Performed as part of the Second Annual Freedom and Focus Conference of Fitzmaurice Voicework 30 July – 3 August, 2012, Vancouver, British Columbia, Canada. Performance 2 August, 2012.
Kalina Stefanova[1] Weekend of Discoveries, 1-3 March 2013, Slovensko Mladinsko Gledalisce (SMG), Ljubljana, Slovenia. Damned Be the Traitor of His Homeland, directed by Oliver Frljić; Pier Paolo Pasolini’s Amado Mio, directed by Ivan Peternelj. At first sight, serenity is ubiquitous
Rob Baum[1] Peña Flamenca. Choreographed by Eliezer Truco and Carolyn Holden. Presented by La Rosa at The Masque Theatre, Muizenberg (environs of Cape Town, South Africa), 23 August to 1 September 2012. Shadowy shapes, frozen in dance in a darkened