Electrifying Ensemble Performance and Political Satire in New Māori Play: “Unreel” by Helen Pearse-Otene
The stage explodes with ihi (essential force) and aroha (love, empathy) in Unreel, the new work by...
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Education
Make Your Classroom Multilingual: On Training Students For Rapidly Changing Cultural Landscapes
How do we train students to work within rapidly changing landscapes and for a theatre of the...
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Becoming a Citizen Dramaturg
What is a citizen-dramaturg? Could I study it at a university? Is it merely a state of mind? Would...
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Reflections On Teaching Israel/Palestine in The Theatre Studies Classroom
What is the task of a humanities education? The following incident, which recently took place in...
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New Zealand’s Oldest University Theatre Programme Under Threat
Due to the current financial crisis in the tertiary education sector in Aotearoa/New Zealand, the...
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Remembering A Silenced Teacher: Xavier Bobés And Alberto Conejero’s “El Mar. Visión De Unos Niños Que No Lo Han Visto Nunca”/”The Sea. Vision Of Some Children Who Have Never Seen It”
Xavier Bobés is one of those remarkable artists able to conjure a world through a few objects that...
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“Woman, Life, Freedom: Theatre and Protest in Iran”: A Virtual Roundtable in Honor of World Theatre Day
Dear Friends, Roshan Institute for Persian Studies, The Theatre Times, and the University of...
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ENTRE: A Dispersed Festival of Literature and Theater in Goiania and São Paulo, Brazil
An ambitious plan to fly from Gdańsk, Poland to Goiânia, Brazil and co-organize as well as lead a...
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Theatre and Social Justice in Brazil: The Successful Case of the São Paulo Theatre School
Introduction São Paulo Theatre School was founded in 2009 with the aim to establish a democratic...
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The ENTRE Festival in Midwest Brazil
ENTRE, is a Portuguese verb in the imperative tense that invites us to enter. That says to us:...
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Coming Soon: The 1st International Symposium on Contemporary Asian Theatre, University of Göttingen (Hybrid)
The University of Göttingen would like to invite you to The 1st International Symposium on...
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How I Reunited the Most Important Documents in English Theater History for the First Time in 200 Years
Most of what we know about the beginnings of English professional theater as a financial...
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Registration Now Open: The International Mentorship Program, Workshops for Emerging Theatre Leaders
The International Association of Theatre Leaders (IATL) would like to invite you to The...
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Writing about African Arts 2022: Call for Participants
The African Theatre Magazine invites applicants to the second edition of the Writing about African...
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Generation XIII – A Documentary Podcast
Five dancers. Three years. One school. Every three years 1000 young dancers from all over the...
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How Drama Can Help Open Up Conversations on Suicide for Young People in Post-Pandemic Times
Suicide is the second highest cause of death in 15-to-29-year-olds around the world, according to...
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A Director Needs “to Practice What They Preach”: An Interview with Milosh Andonovski, Theatre Director and Educator
Milosh Andonovski (1989) was born in Kumanovo, North Macedonia. He graduated Comparative...
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An Interview with Prof. Ana Stojanoska—Theater Scholar, Writer, and Poet
Ana Stojanoska (1977, Prilep) is theatrologist, writer, and full professor at the Faculty of...
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“For They Do Not Know What They Dance”? (A Lecture-Essay Hesitantly Affirming the Idea that Every Lecture is Also a Performance) – PART II
This is Part II of the essay. To read Part I, click here. 8. (ON A-HUMANISM, AGAIN) A-humanism is...
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“For They Do Not Know What They Dance”? (A Lecture-Essay Hesitantly Affirming the Idea that Every Lecture is Also a Performance) – PART I
(A Lecture-Essay Hesitantly Affirming the Idea that Every Lecture is Also a Performance)[1]With...
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