Theater Review

Freud on Trial with the Wilma's East Coast Premiere of Hysteria
By Daniel D'Arpa (Temple University) Jun 2009

Of Motherhood, Brecht, and Beethoven: Ruined and 33 Variations in New York
By David Caldwell Jun 2009

Brechtian Review: Caridad Svich's Adaptation of House of Spirits at Repetorio Español in New York
By Peter Zazzali Jun 2009

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Philadelphia Theater Preview: Freud and Dali Clash in Hysteria at the Wilma Theater
By Daniel D’Arpa May 2009

Mother Courage as Surrealistic Video Game at Western Michigan University
By Anthony Squiers May 2009

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George Tabori's Mein Kampf at the Berliner Ensemble
By Christian Gedschold Apr 2009

Kaspar Hauser in New York
By Yvonne Korshak Apr 2009

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Spring Awakening at the Berliner Ensemble (in German)
By Christian Gedschold Mar 2009

The Brave Little Tailor in Cyprus
By Andri Constantinou Apr 2008 From Issue 36.1

In Autumn 2006, Satiriko produced Grimm Brothers’ tale The Brave Little Tailor, a stage adaptation by Heinz-Uwe Haus. This stage production was directed by Marianna Kafkaridou and was loved by its young spectators. The show had a good rhythm, a good balance among scenes, with action and interludes with singing and dancing.

From the Cinematic Stage to the Architectural Space: The Scenic Designs of George Tsypin in War and Peace and The Little Mermaid
By Babak Ebrahamian Apr 2008 From Issue 36.1

It is generally assumed that great artists, after listening to their inner murmurs and callings, reach a certain point in their work / career / life, in which they attain a specific approach and signature distinguishing them from other artists. Georgia O’Keefe is distinct and different from Robert Rauschenberg; Fellini is clearly different from his fellow Italian filmmakers Michelangelo Antonioni or Vittorio De Sica; and then, in turn, the Italians are quite different from the other international directors such as Stanley Kubrick or Abbas Kiarostami.