Current Table of Contents

• CONTRIBUTORS
  
• Up Front
  
• THE CENSOR'S VERDICT
  

  Tom Sellar interviews Romanian theater scholar Liviu Malita, who has recently unearthed records of theater censorship during Ceau escu's communist regime. Malita discusses his research at the Archive of the General Directorate for Press and Printing (DGPT) and the relationships between dissident playwrights, apologists, and censors throughout the 1980s. He also considers the work of Romanian dramatists who continue to examine the psychological consequences of self-censorship and reform after the 1989 revolution.

• IN CINDERELLA'S SHOES: Romanian Theater Twenty Years after Communism
  

  Romanian theater critic and scholar Marian Popescu discusses the challenges faced by Romanian playwrights, directors, and other theater practitioners since the fall of communism. He details the struggles that artists and institutions have had to address and adjust to since the end of the Ceaucescu regime, as well as efforts of Romanian artists to create new forms and engage in the world theater scene.

• THE OLD ROAD RAPIDLY AGING: Changes in Romania's Theater since 1989
  

  Romanian theater scholar Cristina Modreanu discusses the primary model of dramaturgy, classical texts presented in a realistic style, has evolved after 1989 in Romania to accommodate new visual styles of avant-garde directors. Modreanu describes directors such as Mihail Maniutiu, Alexandru Tocilescu, Gabor Tompa, Victor Ioan Frunza, and Alexander Hausvater as artistic "survivors" of the old regime, while Silviu Purcarete represents the present and future of Romanian theater.

• SILVIU PURCaRETE'S WORLD
  

  Critic Andrea Tompa discusses the work of Romanian director Silviu Purc rete in the context of contemporary Romanian theater. She gives particular attention to his productions Pantagruel's Cousin and Faust, and examines Purc rete's approach and influence with regard to his contemporaries in Romania and in Europe.

• Portfolio: HELMUT STURMER AND THE ROMANIAN THEATER
  
• CLAP IF YOU WANT TO
  

  In this personal essay, Romanian publisher (LiterNet.ro) Razvan Penescu writes about his decision not to applaud a poor performance at the National Theater of Bucharest and how his dissent represents an expressive freedom that was disallowed in communist Romania.

• Portfolio: DRAGOs BUHAGIAR'S STAGE DESIGNS
  
• THINGS THAT HAVE TO DO WITH US: A Playwright's Notes on the Struggle for New Romanian Plays
  

  Alina Nelega offers a playwright's perspective on the development of playwriting in post-communist Romania. She details the challenges faced by new playwrights in a primarily visual, director-driven theatrical culture, and discusses the history of programs like Dramafest and dramAcum, designed to foster new writing. Particular attention is paid to writers Gianina Carbinariu and Stefan Peca.

• Contributors
  
• Report: Tashkent (May 2008)
  
• Brett Bailey and Third World Bunfight: Journeys into the South African Psyche
  

  In this profile, Daniel Larlham places controversial South African theater director Brett Bailey's recent works, including Ipi Zombi?, iMumbo Jumbo, and Big Dada, in the context of contemporary South African theater and politics. He describes Bailey's strategies of cultural appropriation and "celebration," audience responses to them, and his evolving approaches to theater and society.

• Nothing to Do with Patience
  

  In this interview, theater scholar Jonathan Kalb and acclaimed German director Michael Thalheimer discuss Thalheimer's radically stripped-down approach to canonical dramatic texts, with reference to several recent productions, including Liliom, The Oresteia, Emilia Galotti, Faust I, Faust II, and Lulu.

• Strange Times
  
• The Communist Dracula Pageant
  
• Pierre Mujomba and The Lost Envelope
  
• The Lost Envelope (Excerpt)
  
• I Like to Watch
  
• Among the Global Villagers
  
• Contributors
  
• Up Front: Connecting Dots
  
• Up Front: Wikiturgy
  
• Bodily Fear: Recent American Performance Controversies
  

  In this article, John Houchin, author of Censorship of the American Theater in the Twentieth Century, continues his exploration of censorship and its social ramifications. In censorship battles throughout history, debates may have been addressed in two or three newspaper articles, only to fade quickly from public view. Houchin argues the swift proliferation of internet and cable communication has protracted these debates, placing even greater pressure on artists, producers, and regulatory agencies. Houchin explores the impact of censorship vis-à-vis four events, events that all revolve around women and the presentation of the female body: Eve Ensler's The Vagina Monologues, Janet Jackson's "wardrobe malfunction" at the 2004 Super Bowl, Don Imus' defamatory comments about the Rutgers women's basketball team, and the play My Name is Rachel Corrie, compiled from the late activist's emails, letters, and journals.

• Controlling the Twenty-First Century: Suppressed Theater and Global Change
  

  In this article, Miriam Felton-Dansky outlines recent debates over censorship and controversial theater in an international context. She describes the history of Western free speech debates since the fall of Communism, delineates recent scandals such as the uproar over Behzti, Jerry Springer: The Opera, and My Name Is Rachel Corrie, explores ideas about the powers of live performance to provoke and offend, and parses contemporary debates about what actually constitutes the conceptual category of "censorship."

• Reports on Stage Censorship and Suppression
  

  This section presents a series of reports and commentary on recent incidents of theater censorship and suppression from around the world, arranged roughly according to chronology. Contributors include Theater magazine staff as well as artists and scholars from around the world, including Howard Barker, Freddie Rokem, Mike Daisey, Rabih Mroué, Reverend Billy, and Dean Damjanovski.

• Censorship, Surveillance, and Protest Theater in Zimbabwe
  

  Praise Zenenga's article navigates the long and troubled history between Zimbabwe's theater artists, and national government and local police strongmen. Zenenga uses the Zimbabwean Censorship and Entertainment Control Act of 1967 as his departure point and compartmentalizes censorship of theater arts into three eras: 1) Zimbabwe's liberation struggle from the late 1960s through the 1970s, 2) the newly won independence of 1980s, with hope of economic and social progress giving way to frustration, and 3) the contemporary clash of President Mugabe's strong response against theater's critique of broken government promises. Even though the Censorship Board demands scripts be registered, Zimbabwean theater artists have found creative ways around censorship throughout these three eras, implementing underground performances and "hit and run" political guerilla theater. Zenenga disturbingly uncovers that, while official government censorship may be decreasing, partly to evade international scrutiny, shadowy interrogation, harassment, and even physical assault of artists are becoming more common.

• The REwind Cantata: South Africa's Truth and Reconciliation in Repertoire
  

  In this excerpt from her forthcoming study Stages of Transition: Performing South Africa's Truth Commission, Cole examines the creation and reception of REwind: A Cantata, a musical performance incorporating recorded testimony from South Africa's Truth and Reconciliation Commission, along with the performativity of that ongoing process itself.

• Not Clown
  

  In this interview, theater scholar Jonathan Kalb and acclaimed German director Michael Thalheimer discuss Thalheimer's radically stripped-down approach to canonical dramatic texts, with reference to several recent productions, including Liliom, The Oresteia, Emilia Galotti, Faust I, Faust II, and Lulu.

• Contributors
  
• Up Front: Hungarian Mavericks
  
• Up Front: Pink Operettas and Political Games
  
• Up Front: Drink Me
  
• Hungarian and Independent: New Artists Bring New Forms of Existence
  

  Retracing the movements of Hungarian theater over the past ten years, Andrea Tompa details the rise of Hungary's two most influential independent and contemporary theater directors, Árpád Schilling and Béla Pintér. With the collapse of the Soviet Union, an emergent, internationally prominent Hungarian theater scene took shape: Tompa chronicles the rise of the independent theater movement in the context of the work of other influential directors, such as Viktor Bodó, János Mohácsi, Balázs Kovalik, and Sándor Zsótér, whose daring, performative approaches exploded the psychological-realism tradition. Schilling and Pintér are the heirs: Schilling, praised for the founding of his company Krétakör, whose constant, chameleonic reinvention resists stasis; Pintér, for the theatrical incorporation of Hungarian folk tradition and the resultant questioning of the parameters of identity.

• Notes of an Escapologist
  

  In this manifesto, Hungarian independent director Árpád Schilling, artistic director of the renowned ensemble Krétakör, articulates his ideas on directing, acting, and Hungary's theatrical tradition and producing structures. He gives examples of theatrical exercises used by Krétakör and outlines his vision for the future of Hungarian theater.

• Directing at the Border
  

  In 2006, after nearly two decades of creating distinguished productions, Attila Vidnyánszky, an ethnically Hungarian director from Ukraine, became artistic director of the Csokonai Theatre in Debrecen. Theater critic and historian Nina Király spoke with Vidnyánszky in September 2007. In this interview, Vidnyánszky offers his views on his life and his position in the Hungarian theater today.

• The Screens: A Note on Video
  
• Tales of Mice and Men
  
• Fair Worlds
  
• The Evolving Relationship between Artist and Patron
  
• Rare Beauty Here: Needcompany at Twenty