Bouches béantes et voix blanches dans le théâtre de Howard Barker by Vanasay Khamphommala

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Yorùbá Theatre Practice and Nollywood by Shola Balogun

“…Nollywood has made the whole world a stage for Yorùbá theatre. By extending the performance space beyond the physical confines of the auditorium, Nollywood represents both the current state and future direction of Yorùbá theatre. …”
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‘I am Duchess of Malfi still’: A Review of The Duchess of Malfi, directed by Maria Aberg, The Royal Shakespeare Company (Swan Theatre, Stratford-Upon-Avon, 2018) by Jyotsna G. Singh

“…A Review of a performance of The Duchess of Malfi, directed by Maria Aberg for the Royal Shakespeare Company (Swan Theatre, Stratford-Upon-Avon, 10 July 2018)…”
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De la voix au théâtre au théâtre de la voix : l’envers du décor poétique de Robert Browning by Yann Tholoniat

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Social trauma and the theatre: a study of the formation of a non-conformist identity by Vitalija Truskauskaite

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Lieux et milieux dans le Théâtre de Béziers (XVIIe siècle) by Jean-François Courouau

“…The Theatre of Béziers brings together an ensemble of 24 published plays, performed in Béziers for the festival of Ascension between 1616 and 1647. …”
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L’horreur acoustique musiques « anempathiques » dans le théâtre de Martin Crimp by Aloysia Rousseau

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Traum-A-Rhythmia On Debbie Tucker Green’s In-Yer-Ear Stage by Lea Sawyers

“…In an aesthetics of trauma, debbie tucker green gives voice to marginalized and politically minor voices which she directs in her writing as one would a symphonic orchestra. …”
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UNE PERSPECTIVE SÉMANTIQUE INTÉGRALISTE SUR L’INTERFÉRENCE TEXTE-MUSIQUE DANS LE CAS DU THÉÂTRE MUSICAL by Mirona BENCE-MUK

“… The present article focuses its investigation on the place of direct and private interference of the literary text with mu100sic, being consequently dedicated to the “semantic-integralist” analysis reguarding a complete cultural-artistic object which is the musical theatre. …”
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Voix de revenants dans les Pièces pour danseurs de W.B. Yeats. L’exemple de Ce que rêvent les os by Pierre Longuenesse

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Directing Dramas is Returning Hometown: Reading Lin Zhaohua’s The Cherry Orchard from the Perspective of the Taoist Freedom, Xiaoyao by Chengyun Zhao

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Mechanisms of co-presence in repetitive drama studio performances by Željka Flegar, Grozdana Lajić Horvat

“… When working with older children (ages 9-12) in a drama studio environment (extracurricular theatre and drama education with performative outcomes), keeping everyone present is both an exciting and challenging task. …”
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City of Wars: the Representation of Wartime London in Two Novels of the 1940s: James Hanley’s No Directions and Patrick Hamilton’s The Slaves of Solitude by Jean-Christophe Murat

“…Alors que le roman de Hanley est un récit de l’expérience directe de la guerre (la terreur des attaques aériennes, les va-et-vient entre la cave et les appartements...), la terne pension où cohabitent les personnages de The Slaves est le théâtre d’une bien plus insidieuse guerre des mots, par laquelle Miss Roach, la protagoniste, se livre à un examen impitoyable—mais pas toujours lucide—des enjeux de la fidélité et de la trahison (des amis, puis de la nation).…”
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Drama art specialists teaching at Khabarovsk State Institute of Arts and Culture by A. N. Belzhitski, M. G. Cherkashina

“…The article characterizes the activities of two oldest sub-faculties of Khabarovsk State Institute of Arts and Culture – the department of directing and actor’s skills and the department of mass festivity and performance directing. …”
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Film Review: Jagun Jagun, Nigeria, 2023. Produced by Euphoria 360 Media. Netflix. 129 minutes, Yoruba (with English subtitles). No price reported. Directed by Tope Adebayo and Adeb... by Yemi Atanda

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The Spatial-Temporal Canvas That We Call the Stage: Text and Performance in Final Solutions by Ananya Ghoshal, Manivendra Kumar

“…Using a comparative analysis of the stage directions in the play-text by Dattani and a stage production by the Delhi-based Asmita Theatre under the direction of Arvind Gaur, it foregrounds Dattani’s extravagant and complex construction of the stage. …”
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Memory and Recalling in Shelagh Stephenson’s The Memory of Water by Kader Güzel

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Truth's a Dog Must to Kennel by Tim Crouch by Yeliz Biber Vangölü

“…This is a review of Truth’s a Dog Must to Kennel (2022) by the contemporary British theatre practitioner Tim Crouch. Premiered at the Royal Lyceum Theatre as a part of the Edinburgh Fringe Festival in 2022, the play is a direct outcome of Crouch’s experience, both as a human being and a theatre maker, of the COVID-19 pandemic and his thoughts on the death of theatre as an art form during the pandemic. …”
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