By Amelia Parenteau. Through their work, translators of theatre allow others to travel with them between languages, cultures, and realities.
SOURCE: HowlRound at 09:37AMLaughs in Spanish by Miami native Alexis Scheer is a love letter to her city, specifically the Wynwood neighborhood, home to Miami’s vibrant art scene. The relationship between the play’…
SOURCE: thetheatretimes.com at 04:15PMBy Amelia Parenteau. Amelia Parenteau explores the creation of The < 3 G E N Project: a documentary theatre project in which the creators, Beatriz Cabur and Giulia Cavallini, are using di…
SOURCE: HowlRound at 08:49AMBy Amelia Parenteau. Amelia Parenteau details the devising process of Intramural Theater, sharing how the company creates a safe and supportive container for artists to tap into their wildes…
SOURCE: HowlRound at 01:18PMBy Amelia Parenteau. Amelia Parenteau chronicles the process of translating Eva Doumbia’s Autophagies from French to English and producing its tour in the United States, a project that unf…
SOURCE: HowlRound at 09:12AMBy Amelia Parenteau. Amelia Parenteau introduces the We Will Dream: New Works Festival, a festival showcasing new plays by Black playwrights originating from or working in the American South.
SOURCE: HowlRound at 10:44AMBy Amelia Parenteau. Although healthcare clowns have existed for more than forty years, their work isn’t widely understood.
SOURCE: HowlRound at 09:28AMBy Amelia Parenteau. Amelia Parenteau explores the most recent Seuls en Scène Festival, which took place in September 2020 on Zoom and had a programmatic mix of video recordings of live per…
SOURCE: HowlRound at 02:00AMBy Amelia Parenteau. Amelia Parenteau examines the essential nature of both artists and medical workers—who heal body and soul, mind and spirit—and shares how some have navigated their c…
SOURCE: HowlRound at 02:00AMConversation with the two authors Charlotte Boimare and Magali Solignat, co-writers of the play, The Day My Father Killed Me. The conversation (condensed and edited) has been conducted…
SOURCE: thetheatretimes.com at 02:10AMBy Amelia Parenteau. Amelia Parenteau discusses the Actions Caribéennes Théâtrales festival, which brought together francophones, francophiles, and theatre folks from around the world to …
SOURCE: HowlRound at 10:24AMBy Amelia Parenteau. Amelia Parenteau, along with theatremakers Eva Doumbia and Marie Houdin, explores the similarities and differences of parades and protests.
SOURCE: HowlRound at 09:00AMBy Amelia Parenteau. Amelia Parenteau explores the importance of the Seuls en Scène French Theater Festival in Princeton, New Jersey, and discuses the themes and productions at this year’…
SOURCE: HowlRound at 11:06AMEvery story needs to be considered individually for us to have any chance at finding something that looks like justice.
SOURCE: Culture Bot at 09:35AMIs a one-act the most intentionally ephemeral storytelling? Or a prelude to a more extended version of itself?
SOURCE: Culture Bot at 11:24AMThis was a weird play, and I feel okay saying that because even the press release pronounces, “PLUTO is dynamic, simple, and strange.” And I liked the weirder bits a lot. On the night I …
SOURCE: Culture Bot at 11:33AMI first met Gus Schulenburg as an intern in his department at Theatre Communications Group. I remember being impressed by his ability to make time for everyone, in spite of the mountain of w…
SOURCE: Culture Bot at 02:06PMOne of TRE’s greatest distinctions as a New York company (in my opinion) is that they are always playing onstage
SOURCE: Culture Bot at 08:48PMWhose sympathies aren’t piqued by a victim of circumstance who made someone laugh every day while he was alive, no matter how complicit he was in this environmental devastation, no matter …
SOURCE: Culture Bot at 11:36AMThe eponymous Nibbler, of The Amoralists’ world premiere presentation, running at Rattlestick through March 18, strikes when you’re about to have your first true sexual encounter.…
SOURCE: Culture Bot at 12:48PMIf you have never been to the Japan Society, tucked away on East 47th Street between 2nd and 1st, make it a point to go there this year. Better yet, go there this week. I promise you will be…
SOURCE: Culture Bot at 01:24PMIn my senior year of high school, the new drama teacher somehow convinced half the boys on the football team to audition for a production of Martin McDonagh’s The Cripple of Inishmaan. The…
SOURCE: Culture Bot at 01:24PMWonder/Through the Looking Glass Houses is a dance show with artful, varied choreography and fluid company member collaboration from an ensemble that clearly knows itself well enough to play…
SOURCE: Culture Bot at 01:03PMO’Neill succeeds in using a traditional four act structure to present what one can only imagine were revolutionary feminist ideas when this play was first produced.
SOURCE: Culture Bot at 11:24AMThey’re afraid of anything different from them or of what they see in me that maybe they see in themselves
SOURCE: Culture Bot at 11:36AM"The hair in all of Salzburg becomes so tall they have to raise the roofs of carriages - no lady can sit upright in them. I am the talk of the town."
SOURCE: Culture Bot at 02:06PMPhaedra(s) was an enormous production in terms of star power, length, and ambition that failed to deliver the novel telling it promised.
SOURCE: Culture Bot at 11:57AMAubergine is a tender story of food and family, and the ways we express our love.
SOURCE: Culture Bot at 12:08PMThe first time I tried to attend Blossom, at its Henson Carriage House residency in April 2015, the world of texts and trains conspired against me so I ended up stuck in the lobby area with …
SOURCE: Culture Bot at 11:55AMHow do you transform an academic, nineteenth century text into a compelling piece of twenty-first century feminist theater?
SOURCE: Culture Bot at 11:58AMThere’s a density of experience in being alone that is almost irreconcilable. Almost impenetrable. Some people call it a void but I find it totally not void-y. It’s. Unavoidable.
SOURCE: Culture Bot at 12:27AM
