Quite speechless… that would be simply an understatement of mine. I personally have seen theatre performances multiple times per week for the past few years — before the pandemic, of course — and attempts at ‘online theatre’. As one can … Continue reading iGirl // Review
Originally published in print December 2020. December 2020, what a year for the arts sector… Theatre-makers and drama students and professors had to adapt to the digital forms of performance making; final year debuts were held as online … Continue reading 2021: A New, Better Year for Theatre?
Originally published in print September 2020. August 2020. Live performances. Enclosed (or open) spaces. Following government restrictions, the theatre groups planning to perform live again have had to be cancelled or postponed once more. In the midst of … Continue reading Live Theatre Rebirth (?)
Originally published in the Summer Issue 2020. Theatre. Online. [Pause.] The pandemic circumstances left many artists wondering about ‘what is theatre?’ ‘Is this the death of theatre?’, ‘what is the difference between theatre and film when theatre is … Continue reading Theatre. Online.
What are TCD Drama graduates up to? Some people went straight to further studies, traveling, theatre supervision and management, creating their own companies and theatre-making… I recently spoke to Grace Morgan, a 2018 graduate who is part of a new … Continue reading B(l)oom(ing) Originally published in print February 2020.
TN2’s theatre editor interviews actor Rodrigo Ternevoy. Could you talk a bit about your experience as an actor from Brazil in Ireland? Have you encountered any difficulties with casting, or any other difficulties? When I started drama school I was … Continue reading Rodrigo Ternevoy: Interview Originally published in print February 2020
Success is nothing but the vagueness of relevancy—a ‘successful’ theatre production depends on its relevance at a given time in a given place, perhaps. Theatrical reception is purely relative. It depends on innumerable concepts, such as the location where a … Continue reading Theatrical Reception Communal Preset Theory
●●●●● ‘Not to die. And above all not to die.’ Sopro, written and directed by Tiago Rodrigues, was a performance from Lisbon, Portugal which took place at the Dublin Theatre Festival, O’Reilly Theatre. It portrayed the deconstruction of theatre on … Continue reading Dublin Theatre Festival: Sopro//Review
●●●●○ Hecuba was performed in the Project Arts Centre as part of the Dublin Theatre Festival and directed by Lynne Parker, who had directed The Trojan Women many years ago. Hecuba was the wife of King Priam during the Trojan … Continue reading Hecuba // Review
Art has the power to represent social issues in different societies. Artists from all around the world have tried to raise the public consciousness through a vast spectrum of arts: such as George Orwell, British novelist, journalist and critic; Jorge … Continue reading Palestinian Art and Social Reality How can art convey important social messages for us today?
●●●●● Beckett’s Room was an experimental high art co-production work by Dead Centre and The Gate Theatre. The audience members go to their seats and are asked to put headphones on, while there is an immense projection of an eye … Continue reading Beckett’s Room// Review Reimagining Beckett’s room and restoring the meaning of magic in theatre.
Words by Larissa Brigatti The Mona Lisa (1503–1506) or La Gioconda by Leonardo di ser Piero da Vinci is the most famous Renaissance painting in the … Continue reading Mona Lisa