Blerta Neziraj, one of Kosovo’s leading theatre directors, talks about international collaboration and the challenges of working as a female theatre director in the country.
Moldovan playwright and director Nicoleta Esinencu talks about Symphony of Progress, her new production for Berlin’s HAU and Teatru-Spalatorie, her independent theatre in Chisinau.
Andras Dömötör talks about his new production of Karpatenflecken, for Deutsches Theater, the need to reclaim the idea of nationality from the nationalists and whether it is possible to have true freedom of artistic expression in Orban’s Hungary
After almost 17 years of making work underground, Belarus Free Theatre has been forced to leave their home country because it was no longer safe. Tom Mustroph spoke to co-director Natalia Kaliada and company manager Svetlana Sugako about the reasons they felt it necessary to escape – and their future plans.
Mateja Koležnik’s production of The Crucible (Hexenjagd) is currently being presented by the Berliner Ensemble. Tom Mustroph talks to the director about the political climate in Slovenia and why we now live in the digital Middle Ages.
It has been 30 years since renowned director Haris Pašović last worked in Belgrade. Borisav Matić speaks to him about his long and eventful career.
Adrian Morina is an actor and part of the ensemble at Kosovo’s national theatre, Teatri Kombëtar, where until recently he was its acting artistic director. Verity Healey talks to him about his career and Kosovo’s theatre scene a year later into the pandemic.