March 9, 2023

No more Grotowski : one afternoon at La Mama with Richard Schechner and Thomas Richards

by Cristina Modreanu
I hate saying about theatre that it is magical; I usually believe it is more about reason and craft. But it was definitely something magic about these persons singing together in an unknown ancient language, keeping a small distance from one another while looking each other in the eyes, intensely aware of every move this expanded multi-head body made.
November 17, 2022

Mirabilia 2022. The scene as a playground

de Florentina Bratfanof
Circus is all about magic for the people from the streets, the majority of them street passers mostly, not theatre goers. The urban theatre and circus arts attract the common people giving them a chance to be amazed by the power of simple stories and the physical abilities of the performers.
March 8, 2022

”Seven women in search of Mia” or ”Breast cancer trilogy” (A postproduction reflection)

Cătălina Florina Florescu, Ph.D. (Playwright)
I came to realize that Mia was not about breast cancer so much as it was fundamentally about thinking about our bodies, making time to discover them, while raising our concerns as educated citizens.

November 5, 2021

Mia at Here: Arts Center

Part of Staging Breast Cancer Trilogy, MIA is a multi-media installation in two parts, repeated symmetrically.
October 15, 2020

EuropeCultureAward 2020 KulturPreisEuropa 2020 in das Kosovo

"KulturForumEuropa / EuropeCultureForum has decided to award Founder and Artistic Director at Qendra Multimedia Jeton Neziraj, born in Kosovo in 1977 and considered one of the most representative political authors of the new Balkans for his services (and also in the spirit of international diversity)
May 20, 2021


IOTF is back! Now in its third year, this year’s festival showcases 33 global productions made and/or captured during lockdown as artists, theatres and audience adapted to the challenges of making work during the pandemic. As the move to digital spaces has shaped all our lives the possibilities of using this new online ‘space’ to engage audiences as ideas of the ‘live’ are refashioned.

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