Anastasia Patlay talks about creating documentary theatre with the Moscow-based company Teatr.doc.

Lee Sunday Evans, the artistic director of New York City’s Waterwell, discusses the power of transcripts in performance, the topics of immigration and deportation, and the urgent attention that needs to be paid to the United States border right now.

Summer Robinson interviews playwright Lynden Harris about her work creating theatre with men on death row across the United States.

Sean Anthony Chia examines the impact of a powerful story—one without spectacle—through the lens of Isaac Gomez’s the way she spoke.

Sam Williams dives into several of the productions at Finland’s Tampere Theatre Festival, which ran between August 5 and 11 and which was curated based on the theme of bravery.

Michaela Goldhaber, current artistic director of Wry Crips, talks to the founding and early members of the disabled women’s theatre group about their history.

verity healey looks at Teatr.doc’s latest show, Torture, and the vital need for “truth-telling” theatre.

Arman Heljic uses the play Roma Armee to discuss how European Roma are rejecting their colonial legacy and reclaiming their narrative.

Katarzyna Pabijanek reflects on Roma presence in Hungarian theatre, both throughout history and today.

Mihaela Drăgan looks at the way Roma are and have been portrayed in theatre in Romania and how Romani artists are working to reclaim their stories.

Mona Merhi reflects on four productions at France’s 2018 Avignon Festival that were created based on real-life events, people, or documentary material and questions whether staging documents is an ethical process.

Documentary theatre artist Melissa Bergstrom advocates using documentary theatre practices to listen and create new work in today’s social climate. 

Neal Reynolds writes on the power of This Beautiful City, performed by high school students at American Theater Company.