• A Theater of Transparency in the Age of Extraction

    Lily Climenhaga and Piet Defraeye, the intrepid guest co-editors of Theater’s special issue on director Milo Rau, connected with Rau in Spring 2021 for a wide-ranging conversation about his work.

  • Milo Rau: A Selection of Production Reviews

    Milo Rau’s work—the focus of Theater Volume 51, Number 2—presents a challenge to critics.

  • Black, White, and Blue flyer of Goat Island Flyer
    Theater Magazine Presents: A Goat Island Archive Forum Recording
    Proposed by Nicholas Lowe and Mark Jeffery

    What can be learned by engaging an archive with live performance?

  • BODIES ON THE GEARS

    BODIES ON THE GEARS

  • Alice Sheppard’s <Where Good Souls Fear>, Performance Space New York, 2019. Photo: Mengwen Cao
    Open Up
    BY Madeline Charne

    I wanna be with you everywhere (festival)
    Performance Space New York
    April 2019

  • SILVIU PURCARETE PHOTO DOSSIER
    SILVIU PURCARETE PHOTO DOSSIER
    BY KEN REYNOLDS

  • Black Market Photo Dossier Test Gallery
    Black Market Photo Dossier
    By Hannah Hurtzig

    The installation works by Hannah Hurtzig and Mobile Academy Berlin showcased in this portfolio of photographs deal with notions of knowledge and with how they are used and transferred in acts of co

  • The Tempest Photo Gallery
    The Tempest photo dossier
    BY Ken Reynolds

    For Theater’s spring 2013 edition (43:1), contributing editor Ken Reynolds organized a dossier of his photographs of great Shakespeare productions from around the globe.

  • On Algorithmic Theater
    On Algorithmic Theater
    by Annie Dorsen

    This essay was originally published on the blog of Theater Magazine in tandem with the “Digital Dramaturgies” edition (volume 42, issue 2), 2012.

  • I Am Black: (you have to be willing to not know)
    I Am Black: (you have to be willing to not know)
    By Thomas F. DeFrantz

    Contemporary black performance is saturated with experience and complexities that evade easy affiliations or knowings. In his dialogic manifesto-lecture-performance, “I Am Black: (you have to be wi