Yearly Archives: 2016

Review of The Suicide

I attended this performance the day following BREXIT, which resulted in the United Kingdom from a nationwide vote (England, Wales, Ireland, Scotland, Northern Ireland, and Gibraltar) taken on 23 June 2016, found London in the midst of a political, social …

Posted in Volume 8 | Comments closed

The Art of Sharing Shakespeare: Emil Boroghină, A Romanian Sorcerer

The Southern Romanian city of Craiova is a survivor. It defied the social invasion that is industrialization, healed its wounds caused by the massive earthquake of 1977 and strangely, at a later moment, also freed itself from the paralyzing haze …

Posted in Volume 7 | Comments closed

Amleto: An Opera Rediscovered

The Bregenzer Festspiele, one of several well-appointed summer opera festivals, is situated on the beautiful Lake Constance. It specializes in producing one opera outdoors on a floating stage (Seebühne), thereby creating a stunning backdrop while pleasing the masses with operas …

Posted in Volume 7 | Comments closed

The Seagull: An Idea for a Short Story

Where: The Oleg Tabakov Theatre…

Posted in Volume 8 | Comments closed

Theatre More Arresting than Ever: A Conversation with Dorota Masłowska

Dorota Masłowska, considered by some to be already a classic, established herself as a prominent voice among the post-communist and post-dramatic playwrights in Poland through two famous theatre texts – A Couple of Poor, Polish-Speaking Romanians (2006) and No Matter

Posted in Volume 8 | Comments closed

The Fidena Festival, 2016

Normally around this time of the year, I submit a review of the productions in the Recklinghausen theatre festival, whose theme this year was the Mediterranean. But given the current state of Germany as a whole (predominantly the question of …

Posted in Volume 8 | Comments closed

Les Kurbas’s Tradition in Ukrainian Shakespeare Productions

The appropriation of Shakespeare by different nations, as well as the discussions about his works in various cultural contexts, lead to the emergence of unexpected interpretations of his plays and inspire creative experiments in the domain of theatre. As the …

Posted in Volume 7 | Comments closed

Billy Elliot the Musical at the Hungarian State Opera

When the conservative Fidesz party assumed power in 2010, Hungarian LGBTQ citizens had legitimate reasons for concern. Prime Minister Viktor Orbán rode to victory on a platform that promised a better future for Hungary with a renewed focus on “work, …

Posted in Volume 8 | Comments closed

“The Ukrainian Play”: Macbeth Ritualized by Vlad Troitskyi

One of the trickiest questions of modern Shakespeare studies, put forward by L.C. Knights and repeated by many scholars, is, ”How many children had Lady Macbeth?” As every Shakespearean knows, the scholarly answers to it had almost nothing to do …

Posted in Volume 7 | Comments closed

The Tempest: A Magical Ballet Where East Meets West

The following is the review of a ballet in two acts based on Shakespeare’s The Tempest by the Dutch National Ballet.

World Premiere Choreography: Krzysztof Pastor

Video: Shirin Neshat in collaboration with Shoja Azari

Dramaturgy: Willem Bruls

Music: Henry Purcell, …

Posted in Volume 7 | Comments closed

Chorus of Orphans: A Theatre Séance by Poland’s Teatr KTO, Kraków

Founder and longtime artistic director of Kraków’s Teatr KTO, Jerzy Zoń, traces his choice of a life in theatre to a moment when—still a student—he sat in the audience, weeping, during the 1975 premiere performance of Tadeusz Kantor’s Dead Class:

Posted in Volume 8 | Comments closed

The 70th Avignon Festival: An Experiment In Living Together

The 70th Avignon Festival (6–24 July) was an especially memorable celebration of the best in innovative international performing arts and dance. From Ivo van Hove’s Les Damnés to Krystian Lupa’s Place des héros, audiences were treated to a number …

Posted in Volume 8 | Comments closed

Tiago Rodrigues’s Antony and Cleopatra

The production Antoine et Cléopâtre by Thiago Rodrigues and his company Mundo Perfeito was created in 2015, and was presented (in Portuguese) at the Avignon Festival. It was again presented, but in French, at the Paris Autumn Festival 2016, at …

Posted in Volume 7 | Comments closed

Some Quadricentennial Shakespeare in Germany

Given the very large number of active theatres in Germany, their extensive repertoire, and their strong interest in the classic Western theatre in general and Shakespeare in particular, it is doubtless safe to say that nowhere on earth is offering …

Posted in Volume 7 | Comments closed

Shakespeare’s Villains and Modern Politicians in Latvia

Viesturs Meikšāns (b. 1980) is one of the most interesting phenomena in Latvian theatre. He cannot be called an emerging director anymore, since his first decade in this profession is coming to an end; however, he has such an interesting …

Posted in Volume 7 | Comments closed

Coping with the Greatest for Over 100 Years

The latest of Shakespeare’s plays to be staged at the Croatian National Theatre (CNT) in Osijek is The Merchant of Venice. Painfully contemporary in its theme and character motivation and at the same time humorous and smooth, The Merchant

Posted in Volume 7 | Comments closed

A Queen for a King! Tom Lanoye’s Königin Lear at Schauspiel Frankfurt

Flemish playwright Tom Lanoye has experience “overwriting” Shakespeare’s plays among other reworkings of classic works, first with a twelve-hour verse adaptation of eight of Shakespeare’s history plays entitled Ten Oorlog (To War) in 1997, then in 2014 with …

Posted in Volume 7 | Comments closed

The Noorderzon Festival in Groningen

The Noorderzon Festival is an international performing arts festival that took place in Groningen (Netherlands) from 18 to 28 August 2016. It presented several surprising and interesting features. It is a small international festival of theatre innovation (in number around …

Posted in Volume 8 | Comments closed

Spain: Runaway Hits and Ephemeral Memorabilia

Jordi Galceran has proved to be one of Spain’s most commercially successful twenty-first century dramatists. His runaway hit, El método Gronholm (The Gronholm Method) by Sergi Belbel, was first staged at the Catalan National Theatre in 2003 …

Posted in Volume 8 | Comments closed

Introduction au Kunstenfestivaldesarts de Bruxelles 2016

The Kunstenfestivaldesarts, directed by Christophe Slagmuylder, is one of the most interesting festivals of theatre innovation in Europe. Among the thirty-five artistic projects presented this year, twenty-five were world premières. The Brussels-based festival presents many Belgian productions, justifying its local …

Posted in Volume 8 | Comments closed

The 2016 Berlin Theatertreffen: Is Half a Festival Better Than None?

Now in its twenty-second year, the Berlin Theatertreffen, presenting ten outstanding productions from Germany, Austria, and German-speaking Switzerland, has become one of the major European theatre festivals, but with success has come some problems. Audiences have steadily grown, and although …

Posted in Volume 8 | Comments closed

Archives, Classics, and Auras: The 2016 Oslo International Festival

The 2016 Oslo International Festival was the biggest to date. Stretching over three weeks, the festival offered twenty works of theatre, dance, performance, and music as well as seminars and talkbacks. It was also the last for its creator and …

Posted in Volume 6 | Comments closed

Life is Beautiful? or Optimistically About Bulgarian Theatre?

A Pessimistic Background for a Start

When I see the nth show on our stages that is interested mainly in itself, or in the current fashion, or in its perfect following of a certain aesthetics, or in quickly earned laughter …

Posted in Volume 6 | Comments closed

The Stakes for City Theatres: Linus Tunström’s Farewell to the Uppsala Stadsteater

Two weeks after the first appearance of his final production for Uppsala Stadsteater, I met with Linus Tunström to discuss his tenure as the theatre’s Intendant. When Tunström arrived in Uppsala in 2008, the theatre had not been known for …

Posted in Volume 6 | Comments closed

Alvis Hermanis Productions in Latvia and German-Speaking Countries

The Latvian director Alvis Hermanis (b. 1965) had worked for approximately ten years when he “broke out” internationally by taking part in the Salzburg Festival’s Program for Young Directors with a staging of Nikolai Gogol’s The Inspector General, presented …

Posted in Volume 6 | Comments closed

2015 Dance Week Festival and Contemporary Croatian Dance

Croatia, the most recent addition to the European Union family, has a long-standing history both in theatre as well as in ballet and contemporary dance. To understand its current state and to appreciate contemporary works, it is useful to recall …

Posted in Volume 6 | Comments closed

Hamlet in a Curious Nutshell

The Portuguese Association of Theatre Critics awarded its 2015 Prize to scene designer Cristina Reis, who devised a most creative and efficient set for Shakespeare’s Hamlet, produced by Teatro da Cornucópia. The production was directed by celebrated actor and …

Posted in Volume 6 | Comments closed

The Multiple Dimensions of the Bulgarian ACT: Independent Theatre Festival 2015

The Fifth Dimension. This was the slogan of the fifth annual ACT Independent Theatre Festival, which took place from 19 November to 22 November 2015 in the Bulgarian capital of Sofia. The festival was marked by the infectious nerve and …

Posted in Volume 6 | Comments closed

Theatre in Berlin, Winter 2015

During December 2015 Berlin was facing numerous socio-political situations that included the Syrian migration crisis, economic instability due to the decline of the Euro as well as internal political crises brought about by immigration, religious suffrage related to Islam, and …

Posted in Volume 6 | Comments closed

Musical Theatre in Berlin, Winter 2015

Threepenny Opera

Berlin’s varied theatre and performance scene is clearly one of the most vibrant and eclectic in the world. But, it has changed in many ways since the large-scale privatization of many formerly state funded theatres began in 2001. Several theatre …

Posted in Volume 6 | Comments closed

The (Dis-)Enchantment of the Theatre: Gob Squad’s My Square Lady at the Komische Oper

What makes us human? What makes a person a person? Can an object ever attain those qualities? Can such qualities be learned, taught, formed? The German-British performance collective, Gob Squad, are not the first to ask these questions, as their …

Posted in Volume 6 | Comments closed

New Productions in Berlin

In 2012, worldwide interest was aroused by the discovery of 1,280 pieces of art ranging from Monet to Picasso in the Munich apartment of Cornelius Gurlitt. Ronald Harwood followed this exciting and surprising story and completed his play Degenerate Art

Posted in Volume 6 | Comments closed

Manifest for Dialogue: Antisocial

We all know that Facebook is a global phenomenon and, one way or another, is influencing our daily lives, whether we like it or not. I know people who, for personal reasons, or just because they prefer to do something …

Posted in Volume 6 | Comments closed

A Fall in France

The fall of 2015 marked several major events in France that will not be soon forgotten. The tragedy of 15 November and the sudden passing of Swiss director Luc Bondy on 28 November left a sense of emptiness in both …

Posted in Volume 6 | Comments closed

The Iliad as an Oratory: A Warning to a Civilization

In the beginning was the Word. In the beginning wasThe Iliad.

 

These words can best sum up both the story and the scenic language of the remarkable performance Ilijada (The Iliad), a co-production of three …

Posted in Volume 6 | Comments closed

Escaped Alone by Caryl Churchill at the Royal Court Theatre

London’s Royal Court Theatre has premiered nearly all of Caryl Churchill’s plays for more than four decades, and audience members who purchase programs there receive a bonus: a printed copy of the script. Readers who ventured beyond the production details …

Posted in Volume 6 | Comments closed

Bakkhai at the Almeida Theatre

The Almeida Theatre in London’s Islington has been running a season of Greek plays beginning with a rather mix-and-match Oresteia that later transferred to the West End. This was followed by Euripides’s Bakkhai, spelled thus by translator Anne Carson …

Posted in Volume 6 | Comments closed

The Unknown, the Unexpected, and the Uncanny: A New Lorca, Three New Catalan Productions, and a Few Extras

Federico García Lorca is best known for his rural trilogy—Blood Wedding, Yerma, and The House of Bernarda Alba, but it is The Public, written before these iconic works that Lorca was to see as his true …

Posted in Volume 6 | Comments closed
Skip to toolbar