Aesthetics

Cassidy Dawn Graves writes about Thomas Ostermeier’s production of Richard III and questions why we still see able-bodied actors playing characters with disabilities.

Anchuli Felicia King explores use of motion capture and the construction of an embodied and artificial Ariel in the RSC’s version of The Tempest.

Jonathan Mandell gets a grip on Glass Guignol: The Brother and Sister Play, a mashup with Tennessee Williams, Mary Shelley, Lord Byron, and cockroaches—the debut production at the Mabou Mines Theater.

Sylvia Botella interviews Belgium-based theatre historian Olivier Neveux about his thoughts on populism, decomocratizing access to culture, and the political responsibility of the artist. / 

Sylvia Botella interview l’historien de théâtre belge à propos de ses pensées sur le populisme,

la démocratisation de l'accès à la culture et la responsabilité politique de l'artiste.

In the fifth installment of this series, Brendan McCall reflects on the work of Norwegian American vocalist Kristin Norderval, and how her art transforms listening into a political act.

Multidisciplinary artist and cultural producer Ivan Talijancic interviews New York based duo Ximena Garnica and Shige Moriya about LEIMAY ensemble, their recent production Frantic Beauty, and the creation process for their five-part Becoming series.

DC based playwright Annalisa Dias interviews fellow The Welders collective member Deb Sivigny on the world premiere of her new play, Hello My Name Is....

Jonathan Mandell looks at three plays about caregiving on stage recently in New York.

P Carl talks with Taylor Mac about drag, aesthetics, gender, performance, and politics.

In the third installment of this series, Australian playwright David Finnigan discusses how he navigated the attacks of climate deniers on his provocatively titled play. 

Ethan Lipton returns to his artistic home at the Public Theater in New York City to play with toys, musical storytelling, and space travel.

In the fourth installment of this series, Brendan McCall discusses the work of Czech-born, Norway-based artist Nela H. Kornetová , and her performance collective T.I.T.S. 

Georgina Escobar reflects on the past four years of Latinx Theatre Commons (LTC) convenings, and developing an understanding of “Latinx aesthetics.”

David Diamond, curator of the La MaMa Umbria International Symposia, visits St. Petersburg and presents a look at Russian theatre artists today.

In the first installment of this series, Brendan McCall discusses the work of Lars Øyno and his company Grusomhetens Teater.

In this installment, Tom Block explores the work of Sufi poet Farid un-Din Attar.

The Feath3r Theory post-ballet theatre musical about the influence of pop culture on how we live.

Wild Women of Planet Wongo is a cliched tribute to sci-fi and B-movies about worlds without men.

After a comment storm on a recent HowlRound post about bias in criticism in the American Theatre, P. Carl addresses how the democratization of the arts is a form of inclusion.

Jessica Wallenfels considers the state of the new American musical.

Yuko Kurahashi talks about the Collidescope 3.0 project, which uses movement, video projections, and soundscape to explore black and white relations in American history.