Tammie Pollard details the history of military theatre in Europe, explores its benefits, and looks at the challenges it faces today.

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.

Thomas Schmidt talks about the recent protest at the Berlin Volksbühne over the change of leadership and immersive theatre in Germany.

In his latest installment, Tom Block explores how Dietrich Bonhoeffer's work could impact theatre. 

The World Theatre Map beta project has engaged its first cohort of twenty-eight World Theatre Map Ambassadors from twenty-four countries to direct community organizing, outreach, and feedback gathering.

Expat playwright Lydia Stryk considers living and working at a distance from the US.

The second in a series of articles by German theatre scholar Thomas Schmidt about the history of German theatre.

Jack Paterson meets with Winfried Wrede to talk about the development program Flausen he runs in Oldenburg, Germany.

Chantal Bilodeau writes about an initiative called Climate Change Theatre Action.

Thomas Schmidt on the history and model of German theatre. The first in a series of essays about the theatre in Germany.

Anđela Vidović on the reception of Bella Figura by French Playwright Yasmina Reza in Zagreb, Croatia.

Eric Bass discusses the dramaturgy of puppetry in a production of Tennessee Williams’s The Glass Menagerie in Germany.

Translator Henning Bochert talks with playwright Andrea Stolowitz who was recently in residence in Berlin at the English Theatre Berlin.

Lydia Stryk shares a heartfelt exploration of being unable to continue to write plays after losing two important figures in her life, and notes the bravery that comes with writing.

Brian Bell shares insight into the benefits of the repertory model.

I have to wonder why Berliners are willing to bring their children to film or theater like "Pluto". Why are they more apt to present for their children’s consideration an unvarnished exploration of what is dark and hard in the world, and Americans are not?

Summer Banks offers an overview of eco-theatre and talks about her experience watching Katie Mitchell's production of Atmen.

Following up to a piece for the Brooklyn Rail on Gesamtkunstwerk, playwright Lydia Stryk contrasts the German practice with contemporary American theatricality and collaborative practices.

Lisa Peschel considers her experience adapting a comedic play written by survivors of the Holocaust and the way in which its humor translates to audiences today.