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.

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

Iulia Popovici writes about independent theatre in Romania.

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

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.

Romanian playwright Peca Ştefan discusses a project to research and engage with residents to tell the stories of towns throughout Romania.

Mark Jackson reports on the "format and the values" he witnessed in Romania at the Sibiu International Theatre Festival, which is the third largest theater festival in the world.

But what interested me in that scene, besides the actual incredible fact that in a Romanian city somebody had decided to build, in 2011, a wall between “white people” and “gypsies,” was the current Romanian political discourse. And I was interested in whom I was addressing too. I realized that I was speaking, just like the current political discourse, to a middle-class of which I was a part.

This series presents perspectives on contemporary theater in Romania. It is curated by Iulia Popovici, who recently concluded a month long ArtsLink residency at HowlRound.

Sibiu International Theatre Festival creates a dialogue from the performances of different cultures. It brings up the questions of how artists perceive and what that means within our work.

The fall of communism in 1989 ledway to the democratisation of art. Ioana Tamas gives the breakdown of how arts management had to be developed to make this transition successful.

Writing about a national theater as far away from the United States as the Romanian one means, in the end, performing exoticism—playing the monkey for the zoo visitors that do expect a monkey. Because, in the end, it’s not about the theater—a specific economic and aesthetic system designed to produce and share artistic work—it’s about how a society, in this case Romanian society, is perceived at an international level.

Hannah Wolf introduces her position as an American in Romania, teaching and researching at the University of Theatre and Cinema in Bucharest.