Current Table of Contents

• 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
  
• Contributors
  
• Hearing Voices
  
• Their Piece of the Pie
  
• Letter from Johannesburg: Performance and Urban Fabrics in the Inner City
  
• Market Forces
  
• Artist's Journal: Bauerntheater
  
• Radical Inclusion 'Til It Hurts: Suzan-Lori Parks's 365 Days/365 Plays
  
• "It's the Story of Our Own Village": A Journey in Indian Street Theater
  
• Wireless-less: Author's Preface
  
• Wireless-less
  
• Puppets Invade France: XIVeme Festival Mondial des Theatres de Marionnettes
  
• Ghost Map: OFF Stage: The East Village Fragments
  
• A Happy Union
  
• Planting Wild
  
• Trauma and Patience
  
• Contributors
  
• Up Front: "What Good are Poets in a Bereft Time?"
  
• Up Front: The Best of Times
  
• The Worst Sort of Places
  
• "It's so beautiful here. Come, you come too."
  
• The Rabbit and Its Double
  
• The Iconoclasm of the Stage and the Return of the Body: The Carnal Power of Theater
  
• Agamemnon: A Translator's Note
  
• Agamemnon: Excerpted from Romeo Castellucci's Oresteia (una commedia organica?)
  
• Ibsen the Oracle
  
• Ibsen Our Contemporary: Contemporary Directors on the Playwright's Centenary
  
• Romantic Pragmatist
  
• Contributors
  
• Up Front: Talking Heads
  
• Up Front: Richard Gilman, 1925-2006
  
• World Bodies: Adelheid Roosen and The Veiled Monologues
  
• The Veiled Monologues
  
• Who's Afraid of Rachel Corrie?
  
• Artist's Journal: Directing Stravinsky's The Soldier's Tale
  
• Portfolio: Hotel Modern, Kamp
  
• Red: An Exhibition of Theater Costumes from the Eighteenth to the Twenty-First Century
  
• Sisters under the Skin
  
• Designing the Utopian Past
  
• Sly in Bottomless Love
  
• Hitting the Wall
  
• I Like to Be in America