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Annelies Van Assche explores five innovative ways to challenge the dance canon and expand beyond Eurocentric narratives.
by Jeffrey Knapp The first speaker in one of Shakespeare’s earliest plays is not a prince, like Hamlet, or a lover, like Juliet, or a warrior, like Macbeth. He’s a drunken beggar. And he’s incensed that the hostess of the tavern…
by Elisa Cazzato Those who have familiarity with the work backstage in a theatre or dance production will know that this is where quarrels and logistic tensions often occur. In my research at the Paris Opéra, I take a look…
By Neil Archer What makes a performance ‘truthful’? In one of my previous professional lives, as an actor, this question was one that concerned me on an everyday and practical level. But it’s one I’m still dealing with in my…
By Benjamin Poore For the uninitiated, Penny Dreadful is a genre-busting neo-Victorian fantasy horror show, set in the 1890s, in a world where Victor Frankenstein, his Creature, Professor Van Helsing, and Dorian Gray can all co-exist. It’s a world where…