Thank you for visiting our archive. Each performance submitted to our website will be explained in detail in its own blog post. You can choose to look through these posts in a variety of ways.
It is the third time Luk Perceval directs Macbeth and every time he chooses a different way of reading and adapting Shakespeare's 'black play'. This production in particular explores the intimate relation between Macbeth and his Lady, the Man and the Woman.
Read MoreGiulio Cesare – Pezzi staccati (Julius Caesar – Spared Parts) is a show inspired by Shakespeare’s tragedy. Romeo Castellucci brings back to the theatre a shortened version of his ground-breaking 1997 production of Julius Caesar in a new version made up of ‘fragments’ that evoke the original.
Read MoreThomas Ostermeier’s Richard III, interpreted by Lars Eidinger in an outstanding performance, has a direct relationship to his audience throughout the play and seems to ask them, in the director words, just that: “Have you ever wanted to do what Richard does? Have you never felt the desire to commit wrongful acts?”
Read MoreThe Lear Episode is part of a cycle entitled In the Night’s Heart, a project that draws upon Shakespearean plays. It takes place open air, in a structure enveloped in huge transparent plastic curtains. It was composed of twelve sections taken from Shakespeare's King Lear.
Read MoreA fresh and vibrant community production of Romeo and Juliet, involving local amateurs, young performers, and a few British actors. This promenade performance starts in the foyer of the theatre and then moves through various spaces in the city: inhabiting public parks, the main city square, narrow streets or large avenues as it was the case with Juliet’s funeral procession which impeded the regular streaming of traffic amid cry and tears of the performers grieving Juliet’s death. A rare example of theatre irrupting city life.
Read More
The company of young interpreters is made up of students from the Theatre Department of the "Lucian Blaga" University of Sibiu. The play was first staged in 2011 and when it was presented at the International Theatre Festival " Riverside Left" in 2015 in Moscow, it was awarded the Special Jury Award for best modern interpretation.
The show is an adaptation of Shakespeare’s The Tempest for a young audience and it features actors and puppets. It took place open air and attracted a mixed audience of children and grown-ups.
Read MoreDirector Margarita Mladenova, co-founder of Sfumato, decided to stage her version of The Winter’s Tale in a snow-white setting; scenes and costumes are therefore signs of the ice cold life after humans lose love. As she stated, The Winter's Tale "is about a human who is lost and destroys his own life and the life of his closest kin." The sets suggest the characters are being treated in a sort of hospital's ward or, worse, they are already in a mortuary room.
Read MorePeter Schneider has worked with a group of young talented Romanian artists to create a provocative and contemporary visual language that moves fluidly between reality and unexpected, surprising and shocking images.
Read MoreThe Tobacco Factory Theatres opened in 1998 and initiated their two-play Shakespeare at the Tobacco programme in Spring 2000 with King Lear and A Midsummer Night's Dream. The organisation encourages experimentalism and aims to offer excellent art. This year the Factory Theatre season offers a Shakespearean double-bill: Hamlet and All’s Well That Ends Well.
Shakespeare at the Tobacco Factory (stf) has produced 23 more Shakespeares (several of them twice), three Chekhovs, Stoppard’s Arcadia, Middleton & Rowley’s The Changeling and Sheridan’s The School for Scandal. It has enjoyed four national tours, co-produced with the Bristol Old Vic and the University of Bristol and played a season in the Barbican’s Pit. For the last two seasons it has co-produced its Bristol seasons with Tobacco Factory Theatres, a partnership that also produced Brian Friel’s neglected play, Living Quarters, at the Factory last autumn.
The company has been widely and repeatedly admired for the clarity of its story-telling, the raw intimacy of its in-the-round style at the Tobacco Factory, and the transparent unselfishness of its ensemble.
Read MoreThis highly theatrical production features a large cast of performers from the two companies of the Saitama Theatre. It therefore mixes young interpreters (Saitama Next) with elderly ones (Saitama Gold), who symbolically move on wheelchairs so as to highlight a feeling of the passing of time and of a physical and moral decaying.
Under the direction and supervision of its Artistic Director (the late Yukio Ninagawa), the “Sai-no-kuni Shakespeare Series” has put on such popular works as Hamlet and Macbeth as well as plays rarely staged in Japan, such as Antony and Cleopatra and the epic trilogy Henry VI. Also popular is the “All Male Series,” which stages plays as they were originally performed, with an all-male cast. Starting with our co-production of King Lear with the Royal Shakespeare Company, the series has been successfully staged overseas such as in Stratford-upon-Avon, London, New York, and Seoul. Now it represents one of the most pioneering Shakespeare productions in Asia, and keeps receiving global attention.
Richard II is the last Shakespeare's play Ninagawa directed, since he passed away aged 80 at the beginning of May 2016.
Read MoreThe Tobacco Factory Theatres opened in 1998 and initiated their two-play Shakespeare at the Tobacco programme in Spring 2000 with King Lear and A Midsummer Night's Dream. The organisation encourages experimentalism and aims to offer excellent art. This year the Factory Theatre season offers a Shakespearean double-bill: Hamlet and All’s Well That Ends Well.
Shakespeare at the Tobacco Factory (stf) has produced 23 more Shakespeares (several of them twice), three Chekhovs, Stoppard’s Arcadia, Middleton & Rowley’s The Changeling and Sheridan’s The School for Scandal. It has enjoyed four national tours, co-produced with the Bristol Old Vic and the University of Bristol and played a season in the Barbican’s Pit. For the last two seasons it has co-produced its Bristol seasons with Tobacco Factory Theatres, a partnership that also produced Brian Friel’s neglected play, Living Quarters, at the Factory last autumn.
The company has been widely and repeatedly admired for the clarity of its story-telling, the raw intimacy of its in-the-round style at the Tobacco Factory, and the transparent unselfishness of its ensemble.
Read More
This research was supported by the Social Sciences and Humanities Research Council of Canada
