Exeunt Magazine: European theatres have been some of the first to adapt to our new quarantined existence, making recordings available to watch online for audiences to watch at home. Suddenly, there’s the opportunity to see work by playwrights and directors lauded abroad but rarely if ever performed or programmed in the UK – Dorota Masłowska, Biljana Srbljanovic, Jeton Neziraj, Yury Butosov, Jan Klata. If you’re missing the communality of theatre, here’s an opportunity to embark on a self-curated international festival, to travel without leaving the sofa, to expand cultural horizons.
1 comment:
European theatre is fascinating to me. So different from the commercial world of Broadway, where profits still reign as the chief deciding factor and audience appeal seems to matter more than the art, the state funded model of theatre in continental Europe allows for art to be produced consistently, and companies are able to take more artistic risks since they are not reduced to popular-appeal pandering to get butts into seats. This article discusses the role of the ensemble and movement in the culture (norms?) of European theatre, and how attitudes vary wildly about the importance of elements in a performance. One thing I thought was fascinating was how Europeans refer to what we call “tech” as “montage,” and in that time the show is still yet to be creatively formed, it’s seen as a place for a director to prove themselves in their creative vision, rather than mechanical rehearsals to make sure that the flying scenery moves at the exact right time. I think theatre psychology and theory is fascinating, and it’s incredibly interesting to look at regional differences in the processes and results.
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