HowlRound TV Infrastructure Project in Central and Eastern Europe

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.

Robert Stanton for #FairWageOnstage considers the recent success of negotiations for salary increases for Off-Broadway actors and how theatre can support and lead the resistance to oppressive political administrations.

Corina Bucea writes about the role of cultural manager in the contemporary arts scene in Romania.

Iulia Popovici writes about independent theatre in Romania.

Finally, we would like to present the sole representatives of community theatre in Hungary: Koma Base, who took up a very important role in the life of a community in the outskirts of Budapest. / Végül a Koma Bázist szeretnénk bemutatni, a közösségi színház egyetlen képviselőit ma Magyarországon, akik nagyon fontos szerepet vállaltak magukra egy budapesti, külvárosi közöség életében.

Káva Drama/Theater in Education Association is one of the most important groups on the scene in Budapest in taking responsibility for the next generation. / A Káva Műhely csapata minden alkalommal lenyűgöz, amikor projektjeink kereszteződnek. Ők képezik az egyik legfontosabb csoportot a szakmán belül, akik felelősséget vállalnak a következő generációért.

We would like to dedicate the fourth article of the series to dance. Viktor Szeri, an up-and-coming dancer from Budapest, leads us into its secrets. / A sorozat negyedik posztját a táncnak dedikáljuk. Szeri Viktor, egy fiatal és feltörekvő budapesti táncos, bevezet annak titkaiba.

The founders of dollardaddy's both come from the University of Kaposvár, a theatre school that is in a small city in the south of Hungary. In their article they present to us their path from the countryside to the very heart of the capital. / A Dollár Papa Gyermekei alapító tagjai a kaposvári színművészeti egyetemről jöttek, egy Magyarország déli részén fekvő kisvárosból. Írásukban leírják a vidékről a főváros szívébe vezető útjukat.

Last year, Kristóf Kelemen and his creative team (Angéla Eke, Alexandra Horváth, Márk Horváth, Tamás Rétfalvi, Judit Tarr) opened a performance at Trafó House of Contemporary Arts which deals with the struggles of performing arts education through their personal experiences. We asked Kristóf to give us an insight and present the system of the University of Theater and Film Arts, Budapest. / A Trafó tavalyi évadában, Kelemen Kristóf és alkotótársai (Eke Angéla, Horváth Alexandra, Horváth Márk, Rétfalvi Tamás és Tarr Judit) bemutattak egy előadást, amely az előadóművészeti oktatás nehézségeit tárgyalja, személyes tapasztalataikon keresztül. Felkértük Kristófot, hogy mutassa be a budapesti Színház- és Filmművészeti Egyetem működési rendszerét.

In the first post of the series, Budapest-based curator and theatre critic Anikó Varga gives us an overview of the young independent theatre field from the capital. / A sorozat első posztjában Varga Anikó, a Budapesten élő kurátor és színházi kritikus, a fővárosi, független, fiatal szcénát mutatja be.

Ioana Tamas discusses the status of artists in Romania, in this installment of the series leading up to the IETM Plenary Meeting in Bucharest.

Erik Nikander discusses Yaroslava Pulinovich's Russian play Natasha's Dream, presented in New Repertory Theatre in Massachusetts.

In this installment of a new series leading up to the IETM Plenary Meeting in Bucharest, Theodor-Cristian Popescu writes about being an actor in Romania.

Jamie Gahlon, Senior Creative Producer of HowlRound, reports on a trip she took in fall 2016 to explore, deepen, and build partnerships with theatremakers and organizations in Eastern Europe.

Anđela Vidović critiques the relevance of a Croatian adaptation of Richard Bean's One Man, Two Guvnors.

Edward Einhorn discusses the relevance of absurdist theatre.

Alžbeta Rusnáková gives a look into Slovakia’s independent theatre scene.

US playwright Jen Silverman talks with Latvian playwright and dramaturg Jānis Balodis about the similarities and differences in their work and how their work responds to the political climate in their countries and the world.

Frequent overseas contributor verity healey reports on the Belarus Free Theatre workshop exploring the intersection of how a true story about mental illness is portrayed on stage.

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

verity healey on what four new Russian plays performed at London’s Frontline Club say about the present and future of theatre in Russia.

verity healey reviews Belarus Free Theatre’s Being Harold Pinter at the Young Vic in London, England.

verity healey offers an overview of pop up performances by Belarus Free Theatre’s studio Fortinbras, highlighting the treatment of disabled citizens in Belarus.