An 1868 Egyptian Helen of Troy play published

Arab Stages
November, 2015

The current (October 10 issue of Al-Hayat announces that the first theatrical text translated and published in Arabic in Egypt, Beautiful Helen (1868), by Sheikh Tahtawi (1801-1873) has been discovered by Syed Ali Ismail, a professor of theater criticism in Helwan University. Published by the Egyptian General Book Authority, the Tahtawi text was commissioned by […]


Changing the Subject: Marvin Carlson and Theatre Studies 1959-2009

The new field of theatre studies changed rapidly in the post-World War II, post-Sputnik expansion of higher education, driven by the expressive urgencies of the baby boom and the ferment of the revolutionary 1960s. Internationally focused, communicatively multilingual, and culturally provocative, theatre lent itself particularly well to the agendas of many constituencies, some of them […]


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Master Builder Talkback

The artistic triumvirate of Jonathan Demme, André Gregory, and Wallace Shawn update Henrik Ibsen’s “The Master Builder,” a modern classic about a successful, egomaniacal architect who has spent a lifetime bullying his wife, employees and mistresses – who nonetheless wants to make peace with himself as his life approaches its final act. Wallace Shawn gives […]


Theatre Semiotics : Signs of Life

Theatre Semioticians have to date concerned themselves primarily with the semiotics of the literary dramatic text, the semiotics of the physical enactment of this text, or the relationship between the two. Theatre Semiotics offers a broader, differently oriented analysis, balancing consideration of the ways theatrical signs are produced with the ways they are received and […]


Troubling Cross-Currents in the Budapest National Theatre

European Stages
November, 2015

The National Theatre in Budapest has been troubled by political and cultural cross-currents for the past years, which have left temporary marks on its audience, repertoire, and stagings as well as long-term marks on its physical structure. Let us begin with these more long-term effects, at the center of which is the theatre building itself. […]