..., the International Institute of Political Murder ( iipm ), and on to his work at ntg ent where Rau has served as artistic director since 2018. Climenhaga identifies many of Rau’s collaborators and artistic inspirations, as well as the criticism of his practices. While all of Rau’s work is political, Climenhaga...

... Institute of Political Murder ( iipm ), and has been something of a through line for the director. In analyzing both projects, Defraeye traces their development and provides the historical and cultural context of the events presented. In the case of Hate Radio , this involves looking at performances...

... within their own collaborative processes and how theaters might cultivate a culture grounded in care work. Reflecting on the lack of support for queer, POC, and disabled artists in US commercial theater, they discuss the ways that Sins Invalid’s work challenges those institutional paradigms. Finally...

...Marian Popescu Romanian theater critic and scholar Marian Popescu discusses the challenges faced by Romanian playwrights, directors, and other theater practitioners since the fall of communism. He details the struggles that artists and institutions have had to address and adjust to since the end...

... discourse” in the presentation of contemporary performance, he points to the affinities that performance curation maintains with dramaturgy and criticism, even as the role stakes a claim to greater institutional and creative power. © 2014 by Yale School of Drama/Yale Repertory Theatre 2014 Truth...

... different artists. I can’t sit here retelling stories about people’s lives, and that a society and say that the audience should see only my work. Part of 28 why I choose to be in an institution of this size as an Regardless of what they are, last year’s great exception may artistic director...

... 'Z'urris them to shwsand giws to ain~nothing the Institute set out to explore. a A loctrl habitation'cind name." Mornings are devoted to the study of voice and -A Midsuniriier Night's Ilrcam movement...

... of Creating and Listening Together There is a tradition in modern European theater of politically engaged theater-m­ akers taking on the artistic leadership of theater institutions: from Leopold Jessner in the 1920s via the paramount work of Brecht at the Berliner Ensemble on to the Regie­ theater (director s...

... — it’s a conver- a question that has the potential to foment sation I care about, but which so easily and institutional change, and it seems to me a real unfortunately devolves into reductive, uncon...

... for a weekend and then they leave. It’s different with something like Artist Organisations Chantal Mouffe’s projects, which is so lacking within institutional International...

... by Ireneusz Iredynsky, translated by Michal W.B. Yeats: Dramatist of Vision by A.S. Knowland, Barnes & Noble, Kobialka, Institute for Contemporary Eastern European Drama and New York, 1983 (cloth). Theater, New York, 1982 (paper). Conuersations with the Executioner by Kazimierz...

... by Ireneusz Iredynsky, translated by Michal W.B. Yeats: Dramatist of Vision by A.S. Knowland, Barnes & Noble, Kobialka, Institute for Contemporary Eastern European Drama and New York, 1983 (cloth). Theater, New York, 1982 (paper). Conuersations with the Executioner by Kazimierz...

..., but neither is managed to train or sustain an acting company in recent years, there a need to wait for one in order to review these institutions. despite attempts to do so at numerous “resident” or (for lack of a company) “regional” institutions. Joel Schechter Since...

..., premiered The Institute of Memory (TIMe). In and that idea became a stand-­in for the idea of February 2017, Jan and I spoke about TIMe, renaissance. Renaissance with a lowercase r. A which had recently closed a run at the Divine more general idea around the flowering of the Comedy Festival...

...Kathleen Cioffi © 2010 Yale School of Drama/Yale Repertory Theatre 2010 Year of Grotowski Grotowski Institute, Wrocław, Poland January 2009–January 2010 Productions and Events Kathleen Cioffi Grotowski’s Anniversary, Grotowski’s Legacy Year of Grotowski...

... theaters. But despite this long history of innovative work and enduring storytelling, Black theaters in America have always operated on small or medium budgets, and without the kind of legacy funding that larger institutions rely on for security. covid-­19 has drastically impacted the theater industry...

...Stephen Nunns © 2010 Yale School of Drama/Yale Repertory Theatre 2010 Productions and Events Kathleen Cioffi Grotowski’s Anniversary, Grotowski’s Legacy Year of Grotowski Grotowski Institute, Wrocław, Poland January 2009 – January 2010 The United Nations Educational...

... September 2009 Productions and Events Kathleen Cioffi Grotowski’s Anniversary, Grotowski’s Legacy Year of Grotowski Grotowski Institute, Wrocław, Poland January 2009 – January 2010 The United Nations Educational, Scientific and Cultural Organization unesco( ) gave the world a gift...

... by Deanna Bowen The Art Museum at the University of Toronto Toronto, September 4 November 30, 2019 Ever since I saw the Toronto artist Deanna Bowen s recent exhibition God of Gods: A Canadian Play an unstinting piece of institutional critique that returns to the scene of a landmark theatrical production...

... Service, 905 W. Main NC 27701, on behalf of the Yale School of St., Suite 18B, Durham, NC 27701. Annual Drama/Yale Repertory Theatre. For a list of subscription rates: print-plus-electronic the sources in which Theater is indexed and institutions, 128; print-only institutions, abstracted, see...