This trauma will change us, live in our bodies, and leave a mark. We should also seize the chance it gives us to heal.
U.S. theatre’s relationship with its Japanese colleagues has come a long way since Tadashi Suzuki’s 1978 debut here.
Diversifying personnel is important, but a more fundamental step might be to change the ways we teach theatre.
Readers respond to a story about the history of Suzuki and SITI Company, and an article about conservative theatremakers.
The birth of North America’s first professional troupe, the collapse of Zero Mostel, controversies, mergers, and more.
Japan’s Tadashi Suzuki revisits SITI, the U.S. company he helped found 25 years ago.
The writer/performer’s new show at Dixon Place promises a carnival ride through a memoir’s revelations.
Most actors methodically warm up for emotionally draining performances. But what do they do to recoup reality?
All theatre is about how we get along with each other, the director believes—a useful frame for a show about apartheid.
Requiring students to attend the theatre can backfire. So how do you attract and inspire theatregoers of tomorrow?