These plays depict a reality that seems familiar and plausible yet feels dreamlike, monumental, and mythical.
Schaubühne Berlin vividly adapts the author Édouard Louis’s first-person account of the experience of rape and attempted murder.
The work on display at Berlin’s Theatertreffen draws on film, novels, Brecht, and ancient Greek drama.
The live a cappella is a result of the conditions under which the songs were originally sung: in open fields.
The playwright’s protagonist rises to the pinnacle of society only to fall back down to the housing project where she grew up.
The Prisoner conjures a timelessness that recalls Waiting for Godot.
The directed actions in Ivo Dimchev’s P Project progressed from audience members dancing alone in front strangers to nude performers simulating sex.
The actor’s trade is always a deception, creating the appearance of authenticity.
Pollock by Fabrice Melquiot is in many ways just another paean to the ‘heroic male painter.’
The 1966 student protests in Durango are the basis for a performance by the Mexico City-based collective Teatro Línea de Sombra.
Congolese choreographer Faustin Linyekula and American writer and director Annie Dorsen contemplate storytelling at the Crossing the Line Festival.
Richard Maxwell’s style can be off-putting or self-defeating, yet its virtues are manifest in this piece.