What different kinds of festival are to be found on the ever-expanding international circuit? What companies are invited or gatecrash the events? What is the role of festivals and festival-going in a global theatrical economy? In this article Murray Edmond describes three festivals which he attended in Poland in the summer of 2007 – the exemplary Malta Festival, held in Poznan; the Warsaw Festival of Street Performance; and the Brave Festival (‘Against Cultural Exile’) in Wroclaw – and through an analysis of specific events and productions suggests ways of distinguishing and assessing their aims, success, and role in what Barthes called the ‘special time’ which festivals have occupied since the Ancient Greeks dedicated such an occasion to Dionysus. Murray Edmond is Associate Professor of Drama at the University of Auckland, New Zealand. His recent publications include Noh Business (Berkeley: Atelos Press, 2005), a study, via essay, diary, and five short plays, of the influence of Noh theatre on the Western avant-garde, and articles in Contemporary Theatre Review (2006), Australasian Drama Studies (April 2007), and Performing Aotearoa: New Zealand Theatre and Drama in an Age of Transition (2007). He works professionally as a dramaturge, notably for Indian Ink Theatre Company, and has also published ten volumes of poetry, of which the most recent is Fool Moon (Auckland: Auckland University Press, 2004).

As author of one of the pioneering books advocating the study of Shakespeare's Plays in Performance (1966), founder of the Department of Drama and Theatre Arts at Birmingham University, and for fifteen years an Associate Director of the Royal National Theatre, John Russell Brown is in a uniquely authoritative position to look back over the intervening years as ‘Performance Studies’ have increasingly displaced the study of Shakespeare's plays as texts. But has this been as helpful as many, including the author, hoped, when in practice it is so often based on the second- or third-hand recreation of lost and isolated theatrical moments, and fails entirely to give a sense of the progressive experience of watching a play? John Russell Brown here argues for closer attention to what he calls the ‘secret language’ of the plays – implicit instructions to actors that are buried in the texts themselves, at a time when there was no director to encourage or impose a particular interpretation or approach. He concludes: ‘Rather than trying to describe and understand what very different people have made of the plays in very different circumstances and times, we can best study them in performance by allowing them to reflect our own lives.’ John Russell Brown's most recent books are Shakespeare Dancing (Palgrave, 2005) and, as editor, The Routledge Companion to Directors' Shakespeare (2008). In 2007 he was appointed Visiting Professor at University College London.

In 2006 Odin Teatret performed its multicultural version of Ur-Hamlet, derived from its early thirteenth-century origins in the Gesta Danorum of Saxo Grammaticus, in the castle courtyard of Kronborg – the Elsinore setting for Shakespeare's version four centuries later. But the performance here followed years of preparation, and involved a multiplicity of theatre styles and performing traditions. The production had its beginnings at sessions of the International School of Theatre Anthropology (ISTA) in Seville in 2004 and Wroclaw in 2005, and preparations continued in Holstebro, Copenhagen, and Bali from 2004 to 2006. Erik Exe Christoffersen followed the final rehearsals in Ravenna, and here gives an account of the Kronborg performance. Erik Exe Christoffersen is Associate Professor at the Institut for Æstetiske Fag, Department for Dramaturgy, Aarhus University, Denmark. His most recent publications include The Actor's Way (Routledge, 1993) and Teaterhandlinger (Theatre Actions, 2007). He is Editor of the Danish theatre journal Peripeti:Tidskrift for Dramaturgiske Studier.

In this paper Rachel Fensham returns to the writings of Gaston Bachelard in order to examine the poetics of space from a non-European perspective. Spatial metaphors, such as the ‘dead heart’ that might evoke phenomenological and psychic dimensions of space in Australia, also register in historical and geographical imaginaries. However, postcolonial theories of space disturb visual metaphors and cartographic concepts in the mises en scène of theatrical performance. Here, Fensham analyzes two recent performances that radically reimagine the poetics of (Australian) space through the movement trajectories of walking and falling. Rachel Fensham is a Professor of Dance and Theatre Studies at the University of Surrey. Her book with Denise Varney, The Dolls' Revolution: Australian Theatre and Cultural Imagination (Australian Scholarly Publishing, 2005), examines the influence of women playwrights on mainstream Australian theatre, and she is currently undertaking research on transnationalism and choreographic practice.

Time structures are essential to any analysis of drama or theatre performance, and in this article Jerzy Limon takes the final scene from Tom Stoppard's Arcadia as an example to show that non-semantic systems such as music gain significance in the process of stage semiosis and may denote both space and time. The scene discussed is particularly complex owing to the fact that Stoppard introduces two different time-streams simultaneously in one space. The two couples presented dance to two distinct melodies which are played at two different times, and the author explains how the playwright avoided the confusion and chaos which would have inevitably resulted if the two melodies were played on the stage simultaneously. Jerzy Limon is Professor of English at the English Institute at the University of Gdańsk. His main area of research includes the history of English drama and theatre in the sixteenth and seventeenth centuries, and various theoretical aspects of theatre. His most recent works, published in 2008, include a book on the theory of television theatre, Obroty przestrzeni (Moving Spaces), two chapters in books, and articles in such journals as Theatre Research International, Shakespeare Jahrbuch, Journal of Drama Theory and Criticism, and Cahiers élisabéthains.

In this article David Barnett investigates the ways in which plays can be considered ‘postdramatic’. Opening with an exploration of this new paradigm, he then seeks to examine two plays, Attempts on her Life by Martin Crimp and 4:48 Psychosis by Sarah Kane, in a bid to understand how their texts frustrate representation and the structuring of time, and concludes by considering how the restrictions imposed upon the postdramatic performance differ from the interpretive freedom of text in representational, dramatic theatre. David Barnett is senior lecturer and Head of Drama at the University of Sussex. He has published monographs on Heiner Müller (1998) and Rainer Werner Fassbinder (2005), the latter as Research Fellow of the Humboldt Foundation, Germany. He has also published articles on contemporary German, English-language, political, and postdramatic theatre.

In this essay Ilka Saal examines one of the most perplexing aspects of Neil LaBute's work: his deployment of excessive and gratuitous violence. She insists that such deployment of violence has little to do with a humanist critique of the propensity for evil in all of us, nor with the playwright's biography (as suggested by a number of critics), but instead functions as a satirical interrogation of the mythological significance attributed to violence in American culture. The casual cruelties of LaBute's ordinary mid-Americans point up the central and ‘ordinary’ role that violence has played in the nation's history and self-understanding. Focusing on the example of the one-act play a gaggle of saints and drawing on the theories of Jan Assmann and Richard Slotkin, she shows in what ways LaBute uses violence to interrogate the country's cultural memory and to alert us to the general lethargy that has settled over the nation with regard to the historical violence it systematically exerted against its Others. Ilka Saal received her PhD in Literature from Duke University, North Carolina and is now working as Associate Professor of English at the University of Richmond, Virginia, where she teaches modern and contemporary American literature and culture. She is the author of New Deal Theater: the Vernacular Tradition in American Political Theater (Palgrave Macmillan, 2007), Dramatizing the Disease: Representations of AIDS on the US American Stage (Tectum, 1997), and co author of Passionate Politics: the Cultural Work of American Melodrama from the Early Republic to the Present (Cambridge Scholars Press, 2008).

During the early years of the nineteenth century children laboured in factories, down mines, up chimneys, at sea – and in the theatre. In this article, David Haldane Lawrence discusses the portrayal of child labour in the drama of the 1830s and 1840s, concentrating on five plays: The Factory Girl, The Factory Boy, The Dumb Man (or Boy) of Manchester, The Climbing Boy, and The Cabin Boy, whose child heroes extricate themselves from appalling conditions to confront their villainous oppressors, and through coincidental circumstances are elevated to a higher social position. But the realities of child labour are not fully portrayed on the stage, and the working boys of the period remain idealized figures. Here, a comparison is made between this idealization and the actual working conditions of child labourers. The theatricality inherent in the stage representation of child labour is further enhanced by the fact that the leading ‘boy roles’ were usually played by women, and the performances of the cross-dressed specialists in ‘boy roles’ is also discussed, as is the influence on ‘factory boy’ drama of socially relevant fiction, particularly Frances Trollope's novel about child labour, The Life and Adventures of Michael Armstrong the Factory Boy, published in 1840.

In the course of his career, James Macdonald has directed a vast array of plays and operas in London, New York, Vienna, and Berlin, but he is perhaps best known for the premiere productions of Sarah Kane's Blasted, Cleansed, and 4.48 Psychosis at the Royal Court Theatre, where he was an Associate Director from 1992 to 2006. His most recent work includes Peter Handke's The Hour We Knew Nothing of Each Other at the National Theatre and the Broadway revival of Caryl Churchill's Top Girls. Macdonald met with R. Darren Gobert in London on 23 January 2006 to discuss the challenges of working with spare, difficult plays such as Kane's, Churchill's A Number, and Martin Crimp's Fewer Emergencies. R. Darren Gobert wishes to thank Annabel Rutherford for transcribing the conversation and, for their funding, the Faculty of Arts Committee on Research, Grants, and Scholarships at York University.

In this article, Christian M. Billing considers the relationship between representations of mythic narratives found on ancient pottery (primarily found at sites relating to the Greek colonies of south Italy in the fourth century BC, but also to certain vases found in Attica) and the tragic theatre of the fifth century BC. The author argues against the current resurgence in critical accounts that seek to connect such ceramics directly to performance of tragedies by the major tragedians: Aeschylus, Sophocles, and Euripides. Using five significant examples of what he considers to be errors of method in recent philologically inspired accounts of ancient pottery, Billing argues for a more nuanced approach to the interpretation of such artefacts – one that moves beyond an understanding of literary texts and art history towards a more performance-conscious approach, while also acknowledging that a multiplicity of spheres of artistic influence, drawn from a variety of artistic media, operated in the production and reception of such artefacts. Christian M. Billing is an academic and theatre practitioner working in the fields of ancient Athenian and early modern English and European drama. He has extensive experience as a director, designer, and actor, and has taught at a number of universities in the UK and the USA. He is currently Lecturer in Drama at the University of Hull.

Puppets are inanimate objects that, when watched by an audience, are invested with life and motion and character. This is particularly the case, we imagine, with children's theatre, where there is a cultural assumption that young audiences engage with the illusion and imaginative experience. In this article Matthew Reason uses innovative visual arts-based audience research to explore this question, asking how children respond to puppets in live theatre. In doing so he engages with questions of reality, illusion, belief, and disbelief in the theatre, as well as with questions about the respect and sophistication of young audiences. Matthew Reason is a Senior Lecturer in Theatre and Head of Programme for MA Studies in Creative Practice at York St John University. In 2006 he published Documentation, Disappearance, and the Representation of Live Performance (Palgrave), and a full-length exploration of children's experiences of live theatre, The Young Audience, will be published by Trentham Books in 2010.

This article provides an illustrated description and analysis of Speaking Stones – a collaborative performance commissioned by Theatre Asou of Graz, Austria, with UK playwright Kaite O'Reilly and director Phillip Zarrilli as a response to the increasingly xenophobic and reactionary realities of the politics of central Europe. The account interrogates the question, the dramaturgical possibilities, and the performative premise which guided the creation of Speaking Stones. Phillip Zarrilli is internationally known for training actors through Asian martial arts and yoga, and as a director. In 2008 he is directing the premiere of Kaite O'Reilly's The Almond and the Seahorse for Sherman-Cymru Theatre and the Korean premiere of Sarah Kane's 4:48 Psychosis. He is also Professor of Performance Practice at the University of Exeter.

Ingemar Lindh's work on the principles of collective improvisation has crucial implications for the history of twentieth-century laboratory theatre. His early work with Étienne Decroux and Jerzy Grotowski contributed to the development of a unique practice that resists directorial montage, fixed scores, and choreography; and the ethical dimension that accompanies Lindh's research on collective improvisation is illuminating for a more holistic understanding of the technical and aesthetic considerations in theatre. In this article, Frank Camilleri discusses some of the key aspects of this dimension, notably the dynamics of hospitality and encounter that inform Lindh's approach and the question of responsibility in the actor's work. Frank Camilleri is Lecturer in Drama and Theatre Studies at the University of Kent. From 2004 to 2008 he was Academic Coordinator of Theatre Studies at the University of Malta. He is also Artistic Director of Icarus Performance Project – an ongoing research laboratory that investigates the intermediary space between training and performance processes. Camilleri's work with Lindh in the mid-1990s was instrumental for the development of this research practice.

In this article Bérénice Hamidi-Kim tests the hypothesis that two conflicting interpretations of the notion of ‘political theatre’ exist on the French stage today. She suggests that each is based on a specific ideology stemming from a specific conception of history and policy, which results in a legitimation of the theatre and of artists both in the theatrical field and in society at large. One, which she calls ‘post-political theatre’, seems to proceed from a radical anthropological and political pessimism, and has deliberately severed all links with all previous forms of political theatre and given up any revolutionary ambitions. The other, which she calls ‘political-struggle theatre’, proudly embraces the legacy of the earlier forms of revolutionary political theatre – the epic form of documentary theatre in particular – and is attempting to revive the political ambition of contributing to a comprehensive, coherent critical project, based on the assumption that theatre is a preparatory school for reality and for political action. Bérénice Hamidi-Kim's doctoral thesis was entitled ‘The Cities of Political Theatre in France from 1989 to 2007’. She is also author of ‘Quelle place politique et culturelle pour le cadre de l'Etat-Nation dans le théâtre de gauche français?’ in the e-review Sens Public (2006), and of ‘Théâtre populaire, immigration, intégration, et identité nationale’, forthcoming in the February 2008 issue of Etudes Théâtrales.

Eric Wolfensohn was one of a small group of British lighting designers to emerge in the 1940s. In this article, Nigel Morgan records how, as he plied his trade, Wolfensohn established a blueprint for the working pattern of the modern freelance lighting designer. Starting as a technician and operator, he progressed to designer and consultant, crossing between the genres of ballet, opera, and plays, and moving seamlessly into shop display, exhibition, film and television, borrowing techniques from each particular form and fusing styles in a quest for aesthetic satisfaction. Nigel Morgan qualified as a music teacher, and playing in a rock band introduced him to the stage and a fascination for stage design and technology. For the next twenty years he followed a career in theatre, lighting world premieres of plays by Caryl Churchill, Stephen Jeffreys and Tom Kempinski. He developed a highly successful lighting business in retail, with Harrods and Daks-Simpsons the principal London clients. Parallel to this, he was the innovator of lighting programmes in higher education, including the first European undergraduate programme in lighting design at Rose Bruford College in 1996. Nigel gained a PhD in 2003 for researching the origins of lighting design in Britain, and has published Stage Lighting for Theatre Designers and Stage Lighting in Britain: the Emergence of the Lighting Designer.

In this article Andrew Filmer examines performers' experiences in the areas of backstage space known as the wings. Opening with architectural and experiential definitions of the wings, he describes the dangers performers encounter in these spaces, and the various compensatory tactics they employ in response. While the backstage spaces of theatres have traditionally been of little academic interest, Filmer argues that performers' perceptions of the wings are vital in informing their own understandings of what it is to be a professional performer. Andrew Filmer was awarded his PhD by the University of Sydney in 2007 and is currently a lecturer in Drama, Theatre and Performance at Aberystwyth University.

For its size, Singapore hosts an exceptional amount of theatrical activity, emanating both from within the city state and from its role as sponsor of regional international workshops and productions. Its English-speaking dramatists are in the forefront of staging original plays about the foibles of Singaporean society and serving as mediators among South-east Asian theatre practitioners. While troupes depend on government funding and must obtain government permits to perform, most have opted to take an alternative position to the government's narrative of the Singapore success story. This has created an uneasy relationship that undermines the strength of the theatre's social-political critique and encourages self-censorship. In the following essay, Catherine Diamond examines the psychologically cramped conditions within which current Singaporean dramatists operate through a comparison of monodramas. Catherine Diamond is a professor of theatre at Soochow University in Taiwan, and a frequent contributor to NTQ. She is currently directing a flamenco dance-drama adaptation of The House of Bernarda Alba.

Tanika Gupta is one of the most prolific and outstanding new writers in contemporary British theatre. Born in Chiswick in 1965, she is a bilingual British Bengali who – after reading modern history at Oxford University – began her career in 1991, when her Radio 4 play, Asha, was part of the BBC Young Playwrights Festival. In 1995, her BBC film, The Rhythm of Raz, was nominated for a Children's BAFTA and the following year her film Bideshi won an award at the Bombay Short Film Festival. Meanwhile, although she made a living writing for Grange Hill and EastEnders, her play Voices on the Wind was being developed and, in 1996–98, she was Writer-in-Residence at the Soho Theatre. In 1997, A River Sutra was staged at Three Mills Island, London, and Skeleton at the Soho Theatre. In 1998, Flight, her BBC2 screenplay, won an EMMA. The Waiting Room (2000), staged by the National, won the John Whiting Award, and was followed by Sanctuary (National) and Inside Out, toured by Clean Break (both 2002). In 2003, Gupta's Fragile Land opened the new Hampstead Theatre's education space, her Asian version of Hobson's Choice was staged at the Young Vic, and she won the Asian Woman of Achievement Award. Later, she had further success with her campaigning play about the Zahid Mubarek case, Gladiator Games (Sheffield Crucible, 2005), and Sugar Mummies (Royal Court, 2006). A year later came a play for the National Youth Theatre, White Boy (Soho). What follows is an edited transcript of Aleks Sierz's ‘In Conversation with Tanika Gupta’, part of the ‘Universal Voices’ festival held at Rose Bruford College, Sidcup, Kent, in April 2007, organized by Nesta Jones.

This article explores the introduction of Chekhov's plays to Italy through émigré circles in the first decades of the twentieth century, and traces how they were appropriated to suit the ideological exigencies of the time during the fascist period. It concludes with observations about Luchino Visconti's celebrated productions of the 1950s, which stressed the idea that Chekhov was first and foremost a political writer, and suggests how this particular view of the dramatist evolved in the early 1960s as the theatre once again reflected social attitudes and values. Anna Sica is a lecturer at the University of Palermo. She has published monographs in Italy on the commedia dell'arte (1997), Arthur Penn (2000), and theatre in New York (2005), as well as articles on Pirandello and contemporary Italian drama in various journals.

The translation of ancient tragedy is often considered at a linguistic level, as if the drama consisted simply of words being written, spoken, and heard. This article contends that translation for the stage is a process in which literary decisions have physical, as well as verbal, outcomes. It traces existing formulations concerning the links between vocal and bodily expression, and explores the ways in which printed texts might be capable of suggesting modes of corporeality or systems of movement to the embodied performer; and sketches some of the ways in which the range of possible relationships between language and physicality might be explored and understood, drawing upon recent practice-based research into the work of three modern poetic translators of Greek tragedy. Stephe Harrop is a theatre practitioner and academic whose work explores the links between text and physical performance. She originally trained as a dancer, and currently teaches at Royal Holloway, University of London. David Wiles is Professor of Theatre at Royal Holloway. His research interests include Greek theatre, masked performance, and drama in translation. His most recent publications include A Short History of Western Performance Space (2003) and Mask and Performance in Greek Tragedy (2007).