the writers of this article seek to investigate thedramaturgy of howard barker in his the castle, staged in 1985 by royalshakespeare theatre, in order to discover and lay bare the baroque techniquesof representation in this political paly. relying on deleuze’s idea of baroquearchitecture and foucault’s theories of baroque representation, the writers tryto introduce this play as the expression o...

Addressing three current critical turns in gerontology, this article proposes the theatre as a fertile ground for various theoretical angles in age studies including the performative on and off stage, the narrative in the script and the critical questioning of age and ageism in the multiple realities of performance. Beginning from a shared site in the theatre, researchers may be able to establi...

Review of Staged Folklore: The National Folk Theatre Ireland, by Susan H. Motherway and John O'Connell (Cork: Cork University Press, 2022), 318 pp., ISBN: 9781782055310, € 39 (hardcover)

This study centers upon Martyr, a Marius von Mayenburg play, staged in 2014 at the National Theatre Târgu-Mureș by Romanian theatre director Theodor-Cristian Popescu. Using specific artistic tools, manages to transform closed play into an open work of art. The result can be classified as efficient performance. Confronting this performance with local theatrical environment, cannot considered cul...

The present paper studies Kitchen Sink Drama and Naturalism to investigate how a cultural movement through which artists like Arnold Wesker, John Osborne, and Shelagh Delaney express their disillusionment during the post-war period representing the reality of their lives via theatre. The period of 1956–1965 can be considered as a period of time identifying post-war British theatre which is rela...

This article interrogates the translation strategies involved when transposing Elena Ferrante’s Neapolitan novels into a play – first produced in UK. My Brilliant Friend, adapted by April De Angelis and directed Melly Still, was based on of Ann Goldstein staged at National Theatre (London) 2019/2020 following its success Rose Theatre, Kingston 2017. In investigating ‘making’ play, particularly ...