Interview Peter Seynaeve, Belgian actor and director: “The most important aspect of working with children is creating a safe, trusting space.”
It's completely normal to involve children in performances for adults. The idea of banning children from being on stage, as it was in ancient Greece, would be foolish today. Of course, people have opinions about what children should be allowed to do on stage and what types of plays they should be part of.
‘Intimate Choreographies’ will make its debut at both the Stockholm Fringe Festival 2024 and the Gothenburg Fringe Festival 2024
4Culture Association is delighted to announce Romania’s participation in the Baltic Nordic Fringe Festival (BNFN) network. This network aims to provide touring opportunities for artists applying to one or more Fringe festivals in the Baltic-Nordic region. BNFN is the only touring network of its kind in the region and is part of the World Fringe Network (WFN), which includes over 300 Fringe festivals worldwide.
The black swans of our times
The role of ballet, the stage form the play takes, is not to impress with virtuosity but to transform the literary material into a comedy of manners. The humor of this swan lake, with dancers who don’t rise onto their toes or execute perfect pirouettes, brings to light the human limitations of the characters.
The role of ballet, the stage form the play takes, is not to impress with virtuosity but to transform the literary material into a comedy of manners. The humor of this swan lake, with dancers who don’t rise onto their toes or execute perfect pirouettes, brings to light the human limitations of the characters.
A feminist film, as well as an overt critique of the neoliberal society which took over Eastern Europe in very aggressive forms after 1989, ”Don’t expect too much from the end of the world” is a way to fight back using images from the archives, a favorite means of the award-winning Romanian film director Radu Jude.
Of course, there are more questions than answers in this smart and sometimes funny despite the subject production directed by Lila Neuberger, and this is how it should be. The inspired directorial decision to place it in the round space of The Anspacher at the Public Theater, with almost no stage design, except the lights and some chairs, reminds us that theatre is an agora where concepts like democracy can and should be revisited and in-depth analyzed.
