Somewhere between the end of the Indochina War and the twilight of the twentieth century, Caroline Guiela Nguyen brings us the stories of Vietnamese exiles. The dramatist draws out a gentle, colourful melodrama from these voices.
Human-sized puppets, videos and live music: Yngvild Aspeli and the Plexus Polaire company act out the final hours of Valerie Solanas, a radical feminist who attempted to murder Andy Warhol on June 3, 1968.
Rather than using his writing talent for “theses that never get read”, Mohamed El Khatib prefers to create shows with the people he meets, especially those would never have thought of stepping foot in a theatre.
The director of the Theatre des Amandiers in Nanterre, Philippe Quesne experiments, playing with conventions of the genre to create a world with uncertain outlines, combining dreams and materials, allegories and experiments, theatre and fine arts.
Performed in 2018 at the Abrons Arts Center in New York, Pollock brings the tumultuous duo of the American painter and icon of abstract expressionism, and his partner Lee Krasner back to life on stage.
In End of Europe, Rafael Spregelburd plays with the theme of the end using humour that combines irony and cynicism: isn’t it better to laugh at all those who proclaim the end just to take advantage of the terror it arouses?
After his noted Playing War like Playing Gameboy (“À la guerre comme à la Gameboy”), Cameroonian author Edouard Elvis Bvouma again examines the lives of children tormented by civil war in The Bearded Doll, the tale of a sexually-abused young girl.