Sitemap - 2024 - Café Europa
Angels and demons: my 2024 European theatre highlights
Malkovich vs the nationalists: Theatre under attack in Bulgaria
Deep cut: Berlin braces for major culture cuts
The devil's ceilidh: The Strange Undoing of Prudencia Hart in Hungary
"Text is not holy:" Revisiting Three Kingdoms
Songs of the Stockyards: When Laibach met Brecht
Opening up: A short tour through Albanian theatre
Keeping the faith: Staging Ece Temelkuran's Women Who Blow on Knots
As time goes by: Tomi Janežič's 1981
Art can't heal you: Revisiting Carolina Bianchi's The Bride and the Goodnight Cinderella
Bohemian rhapsody: Jeff James' virtual reality retelling of The Winter's Tale
Banged up: Palmasola - A Prison Village
What lies beneath: The body horror of Susie Wang
A little tenderness: Tiago Rodrigues' Hecuba, Not Hecuba
The Purge: Why Slovakia's cultural community is taking to the streets
Living history: ANU, the Irish company connecting the past with the present
Critical thinking II: Passion and precarity
Fruit of the vine: The Grape Agora of Performance
And Then We Came to the End: Looking back on this year's Edinburgh Fringe
Edinburgh Fringe round-up: Stuffed, Revenge: After the Levoyah and Good Luck, Cathrine Frost!
Edinburgh Fringe round-up: Ugly Sisters, Instructions, The Happiness Index and Lessons on Revolution
So it begins: A look-ahead at the Edinburgh Festival Fringe
A lamentation: Taverna Miresia – Mario, Bella, Anastasia
Critical thinking: European critics and arts journalists on a profession in flux
Provocation by press release: The Kosovo Theatre Week that never was
The Vienna Declaration: Milo Rau on his plan to transform the Wiener Festwochen
Night-walkers: Sebastian Nübling and Boris Nikitin unleash their Demons
London round-up: The Constituent, Passing Strange, The Bounds
Dark matter: The unsettling world of Sebastijan Horvat
Uncomfortable encounters: Fix+Foxy, the Danish company behind Dark Noon
From Uzhhorod to Stratford-upon-Avon: King Lear as a labour of love
Talking 'Bout a Revolution: Milo Rau and the Free Republic of Vienna
A tale of two cities: Gorizia, Nova Gorica and cultural collaboration across borders
Put out the light: Carolina Bianchi's The Bride and the Goodnight Cinderella
Ripping up the rule book: Jeff James' radical reworking of The Winter's Tale
The fellowship of the ring: Riesenhaft in Mittelerde™, an inclusive, immersive experience
Stages of grief: TR Warszawa's Pieces of a Woman
Body politic: The duets of Bert and Nasi
Local and global: Maria Aberg on making migrant-led work with Projekt Europa
The circle game: The sensuous, playful theatre of Eline Arbo
A window to the world: An interview with Kris Nelson, artistic director of LIFT
Hello to Berlin: Rikki Henry, the British director making waves in German theatre
Body songs: Sex Education II and the Mladinsko Theatre showcase
More life: Angels in America in Slovenia
Letting in fresh air: Internationalising the National Theatre of Bulgaria
A plea for change: How Prima Facie became an international phenomenon
"Text is not holy:" Revisiting Three Kingdoms
Small islands: Det Ferösche Compagnie's Castle of Joy and the theatre of the Faroe Islands
Thinking spaces: Inside the Royal Court's International Department
London round-up: Cowbois, A Mirror and Ola Ince's Othello
Let's get meta: The cinematic universe of Mário Coelho
Risky business: European theatre makers on the right to fail
Pleasure is essential: Glossy Pain, the international feminist collective rewriting the canon
Playing the long game: Tomi Janežič's no title yet, endurance theatre and ways of staging violation
More than words: The legacy of the London International Mime Festival