Nightlife as Form

Nightlife as Form

Madison Moore examines nightlife as a staged experience and club culture as a source of artistic innovation. Tracing its development from 1920s Harlem to its current manifestations around the globe, Moore explores how nightlife leverages darkness, the “just-beginning-to-stir,” and scenes to become incubators of popular culture.


Creative Interactions

Creative Interactions

Dramaturg and curator Norman Frisch discusses qualities that distinguish theater from other “time-based art,” highlighting connections to mystery and classicism. He articulates curation’s ideal function of fostering connections between artists and audiences alike, citing challenges that ambitious festival curators face. Paid subscribers can read the complete article here.


Engagement Féminin: L’équilibre And Contemporary Dance In West Africa

Engagement Féminin: L’équilibre And Contemporary Dance In West Africa

Emily Carson Coates considers the interplay of contemporary dance aesthetics

and social change developed in the work of Burkinabe choreographers Auguste

Ouédraogo and Beinvenue Bazié and their project Engagement Féminin, which

aims to foster a new generation of professional female dance artists in West Africa.

Coates considers the initiative’s recent piece Dans Un S’Y Mettre, proposing that

it emerges from a gender politics of the dancers’ own devising, based in mutual

support and articulated through the women’s dancing bodies.


Lotte van den Berg's Theater Morgana

Lotte van den Berg's Theater Morgana

The theater of Lotte van den Berg feels almost timeless, and it is actually not theater
at all: well-set dialogue, dramaturgical developments, and psychological truths are foreign here. Her theater can be better described as a scenic Fata Morgana, spun from
atmospherics and visions, from burdens, smells, emotions, astonishments, and shocks.


Moving Between, Among, In the Midst

Moving Between, Among, In the Midst

In this article, Emily Coates proposes the concept of “intercultural kinesis” to describe the transnational collaborations; temporary, embodied onstage communities; and surprising juxtapositions of cultural heritages present in three productions brought to Yale University by the World Performance Project.


Lupa Gruszczynski

What Can Krystian Lupa Teach Us?

This essay by influential Polish dramaturg Piotr Gruszczynski addresses the importance of Krystian Lupa's theater--its fearless risk-taking, gloriously orchestrated chaos, and inimitable excavation of the unknown.


Euphoria of Anger

The Euphoria of Anger

Playwright Adriano Shaplin speaks with THEATER's Editor Tom Sellar about the creation of Freedom Club, Lincoln's legacy, the allure of evil, and the obliteration of ideology on the stage.

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Introduction to Texts for Theater

This essay by KLIM is essential to understanding his seemingly cryptic performance texts. KLIM describes how he converts a traditional play script into a “musical text,” then “dramatic notes,” and finally into a series of “vowel suspensions.”

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A City Bruised

A City Bruised

Katherine Clarke gives an illustrative overview of new playwriting in Northern Ireland since the Good Friday Agreement of 1998. She highlights numerous site-specific theater productions such as Convictions, The Wedding Community Play, and Two Roads West as attempts to reclaim areas in Belfast that were previously associated with political strife and violence--seeking to overcome the memory of past tragedies through communal art.


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Moving and Speaking through the Event, Once More

Bettina Brandl-Risi analyzes two performance projects that involve community participation and the reenactment of local history: Jeremy Deller's The Battle of Orgreave and Rimini Protokoll's Deutschland 2.

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