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This paper is an exploration of the most recent revival of Utpal Dutt's play Titu Mir in 2019 by the ensemble group Theatre Formation Paribartak in India. Islamic religious reformer Titu Mir led a peasant rebellion from 1827 to 1831 in the Barasat region of Bengal and the play focuses on a narrative of revolutionary resistance to colonialism. Titu Mir becomes an articulation of political theatre against the Hindu right-wing agenda of expunging Muslim national heroes from Indian history. This essay seeks Titu Mir 's relevance as a site and theory of materializing historical contradictions, and as part of a 'gestic' feminist criticism of theatre. The essay attempts to understand how critique of patriarchal ideology is enmeshed in critique of colonialism in Titu Mir , especially in those moments where the play addresses complexities of political violence, interracial romance, martyrdom, alienation in the colony and deep-rooted misogyny in the project of colonialism. [ABSTRACT FROM AUTHOR]

The article discusses the book "Critical Perspectives on Contemporary Plays by Women: The Early Twenty-First Century," edited by Peggy Farfan and Lesley Ferris. The book is a collection of twenty-eight chapters that explore the field of feminist theatre criticism and the significance of plays by women. It highlights the influence of feminist scholarly approaches in the academy and the need to articulate the importance of women's plays and research in the larger fields of theatre and performance. The book offers diverse essays that analyze texts from around the world through various methodologies, making it a valuable resource for students and instructors. However, the article notes that the book could have benefited from a discussion on the category of "women playwrights" and its complexities. Overall, the book is praised for its comprehensive scope and skillful treatment of feminism's intersectionalities. [Extracted from the article]

In 1806, Longman & Co. publishers commissioned the accomplished actress, playwright, and novelist Elizabeth Inchbald to compose a series of prefatory remarks for the plays to be included in their British Theatre series. One hundred and twenty-five in all, each of the plays for Longman's British Theatre was originally published and sold separately at a rate of about one per week. Once the series was complete, the plays were bound together and sold as a twenty-five-volume set. As the surviving diary entries from the two-year period during which she wrote her Remarks testify, the task proved both arduous and unrelenting for Inchbald, especially as she had no hand in selecting the plays to be included and no control over the order in which she was asked to compose her critical commentaries. Working almost constantly, no sooner had she read one play, drafted her remarks, and copyedited the proof, than she had to turn to the next play sent by Longman, collect her thoughts, and start the process all over again. For the most part, as Annibel Jenkins has noted, "[T]here seems to be no pattern of publishing by date or genre; a tragedy by Shakespeare came out one week and a contemporary comedy the next." At one point, the strain of this process was so unbearable that Inchbald even tried to renege on her contractual obligations, writing to Longman, "begging to decline any further progress." This request, as her first biographer, James Boaden, records, Longman "could not be expected to permit; and she was therefore compelled to remark through the whole year." In the event, and however "dreadful" the task may have been for Inchbald, the widely advertised series proved a "great commercial success," and Inchbald's Remarks have come down to us as one of the first great achievements in English dramatic criticism of the early nineteenth century. [ABSTRACT FROM AUTHOR]

The concept of business ethics has continued to remain a major item on the agenda of corporate America for the last twenty years. Regrettably, this longevity of interest has not been matched by equal attention to the pedagogical methods and techniques used to address these issues. The current mode of teaching business ethics generally involves reliance on "war stories," case studies, and seminars. Today's dynamic environment creates pressures for higher levels of ethical behavior by business. Many ethical challenges faced by contemporary managers are not easily resolved by existing guidelines, and require managers to expand their scope of analysis in attempting to arrive at satisfactory resolutions. Literature can be an especially alternative source of insights, as authors are able to highlight behaviors that may not be available from traditional sources. Historically, the use of literature in examining business ethics has been focused primarily on novels such as The jungle, Babbit, and The Great Gatsby. Plays are more useful than novels in attempting to inculcate moral and ethical values since they more sharply address the interactions of characters, and the reader becomes more involved in their situations. The plays selected for analysis, Henrik Ibsen's An Enemy of the People, Arthur Miller's Death of a Salesman, and David Mamet's Glengarry Glen Ross, have intense plots and characters and allow the reader to observe a wide range motives, emotions, and traits. This untraditional approach to teaching business ethics enhances the ability to relate to the increasingly complex ethical issues facing the individual and the organization. [ABSTRACT FROM AUTHOR]

This issue of I Theatre Survey i casts a sustained gaze at Anglophone performance cultures of the nineteenth century. Inchbald's writings serve as a valuable archive of both the author's consolidating aesthetic philosophy and the tastes predominant among theatregoers and producers of the time. England's famous Kemble acting family makes a brief appearance in Lisa Freeman's essay, but one of its daughters is the primary subject of Chandra Owenby Hopkins's essay: the plantation diaries of Fanny Kemble shed light on the ways of Southern American whiteness from the perspective of a racial insider who is a national outsider. [Extracted from the article]

Through the narratives of climate crisis felt in the regional and indigenous communities inclusive of humans and more-than-humans, climate change theatre in America in the twenty-first century has represented a global narrative (Chapter 7). May here provides a critical lens for theatre studies, which she terms "ecodramaturgy", to empower one with a science to point out the otherwise overlooked or missed ecological-environmental potentials of a play. [Extracted from the article]

Drawing on a close reading of Theodor Adorno's essay, ‘Education after Auschwitz’, in this article Eva Urban develops the argument that an analysis of the reification that reduces human relationships to mere business interactions has been a central concern of modern drama. The article offers an analysis of some of the ways in which this theme continues to be represented, interrogated, and challenged internationally in contemporary political plays and theatre performances across a range of genres and grounded in a variety of dramaturgical principles. It asks how drama, theatre-making, theatre-spectating, and theatre-participating can create dynamics necessary to enable a move from reified consciousness towards the development of critical autonomy and solidarity. A negotiation of the principles of critical consciousness and solidarity is problematic within economic structures that cause social, ethnic, and religious atomization and divisions. Her argument concludes with an outline for a manifesto for political drama and theatre practice to work against reification. Eva Urban is a lecturer and researcher in the English Department and an Associate of the Irish Studies Research Centre, CEI/CRBC, at the University of Rennes 2, France. She recently completed a British Academy Postdoctoral Fellowship at the University of Cambridge and is a Life Member of Clare Hall, Cambridge. The author of Community Politics and the Peace Process in Contemporary Northern Irish Drama (Peter Lang, 2011), she has also published articles in New Theatre Quarterly, Etudes Irlandaises, Caleidoscopio, and edited book collections. [ABSTRACT FROM PUBLISHER]

In this article, Beliz Gucbilmez argues that 'offstage' is not a place but an idea, a world minus a stage. It is 'anywhere but here', and its time is time-minus-now, making it impossible to determine its scale. It is a foreign tongue--a language with an unknown grammar carrying us to the borders of the uncanny. Gucbilmez rereads the offstage as the unconscious of the stage, looking at its more conventional use in the realistic and naturalistic plays of the nineteenth century and after, but also looking forward to the work of Samuel Beckett. Borrowing from Blanchot's interpretation of the Orpheus-Eurydice myth, she characterizes the Beckettian struggle to represent the unrepresentable as the act of bringing Eurydice into daylight--the invisible content of the offstage onto the stage, which is by definition the space of the gaze. Beliz Gucbilmez is an author, playwright, and translator, currently working as an Assistant Professor in the Theatre Department of Ankara University in Turkey. She is the author of Irony and Drama from Sophocles to Stoppard (Ankara: Deniz, 2005) and Time, Space and Appearance: the Form of Miniature in the Turkish Realist Theatre (Ankara: Deniz, 2006). A shorter version of this article was presented at the Working Group of the International Federation for Theatre Research (FIRT/IFTR) at its 2005 meeting in Krakow.

British pantomime between 1985 and 2005 has undergone an evolutionary reconstruction based on practices of branding. Within this broad field, Martina Lipton distinguishes two competing pantomime models, investigating the contrasting ideological and cultural positioning of dominant representations of modern pantomime by a major production group, Qdos Entertainment, and the Nottingham Playhouse and York Theatre Royal repertory companies. She reads these models as identifying collective experiences and taste communities after the categories identified by Pierre Bourdieu as conferring 'distinction'. While these companies both offer a somewhat similar mediatized product, they successfully co-exist within a dynamic and competitive marketplace by branding their pantomimes as respectively embracing and resisting the influence of mass-media popular culture. Both branding practices have succeeded in restoring the genre to high visibility and economic success. Martina Lipton is working on a PhD at the University of Queensland.

The Vietnamese contemporary spoken drama makes use of its multi -cultural heritage, while keeping abreast of current social realties. The Vietnamese playwrights, set designers, directors, and actors have combined aspects of the realistic theatre with the conventions of their suppositional traditional theatre to come up with a hybrid that is uniquely Vietnamese.

The first major posthumous London revival of a play by Harold Pinter was Moonlight at the Donmar Warehouse in April 2011. There was a striking difference between the critical reception of this production and the way the play had been greeted on its 1993 premiere, when Moonlight – then framed as Pinter's return after fifteen fallow years and a number of increasingly controversial political interventions – prompted an extremely mixed response. In 2011, by contrast, the critical community was more or less united. This progression can be seen to illustrate more than just the benefits of hindsight, and in this article Harry Derbyshire considers responses to Moonlight in 1993 and 2011 as a means of illuminating the range of competing interests that underlie the journalistic and academic infrastructure within which the merits of cultural products are assessed. He also considers the emotional investment commentators often have in the triumphs and reversals of those they follow on the public and cultural stage. Harry Derbyshire's doctorate, on ‘Harold Pinter: Production, Reception, Reputation 1984–1999’, is from King's College London, and he currently lectures in Drama and English at the University of Greenwich. Publications include articles on Roy Williams, on human rights and verbatim theatre, and on the Reminiscence Theatre Archive of Pam Schweitzer, recently acquired by Greenwich. [ABSTRACT FROM PUBLISHER]

Roysten Abel's The Manganiyar Seduction is perhaps the most popular performance of Indian folk music on the global festival market today. This performance of Rajasthani folk music is an apt exemplification of an auto-exoticism framed as cultural commodity. Its mise en scène of musicians framed, literally, by illuminated red square boxes ‘theatricalizes’ Rajasthan's folk culture of orality and gives the performance a quality of strangeness that borders on theatre and music, contemporary and traditional. The ‘dazzling’ union of the Manganiyars' music and the scenography of Amsterdam's red-light district engendered an exotic seduction that garnered rave reviews on its global tour. This paper examines the production's performative interstices: the in-betweenness of sound and sight where aural tradition is ‘spectacularized’. It will also analyse the shifting convergences of tradition and cultural consumption and further interrogates the role of reception in the construction of such ‘exotic’ spectacles. [ABSTRACT FROM PUBLISHER]

Eugène Ionesco was born in Romania in 1909, but he died in France in 1994. The name on his birth certificate was Eugen Ionescu, yet the name on his grave in the Montparnasse cemetery is Eugène Ionesco, as he is known across the world. In this article, Octavian Saiu explores these polarities of Ionesco's destiny from the perspective of his reception in Romania, where nationalistic claims are embroiled in contention over his identity. The paradoxes of this situation are clearly illustrated by the conflict surrounding the celebration of his centenary in 2009, when Marie-France Ionesco, the writer's daughter and the trustee of the estate, banned a series of Romanian performances of Ionesco's plays planned for the occasion. Her decision reflected the traumatizing relationship Ionesco had, even beyond his grave, with what he uncompromisingly called his ‘fatherland’. Octavian Saiu is an Associate Professor at the National University of Theatre and Cinematography (NUTC) in Romania and a Guest Lecturer at the University of Otago in New Zealand. He is Vice-President of the Romanian Section of the International Association of Theatre Critics (IATC) and Director of the Eugène Ionesco–Samuel Beckett Research Centre at NUTC. [ABSTRACT FROM PUBLISHER]

With a rich mix of theatrical material to bring to the table, the climate-change debate playing out in the public domain would seem well adapted to the stage, and has often been presented in docu-dramatic form, as in Al Gore's well-known film An Inconvenient Truth. But until relatively recently climate change and the science relating to it have been conspicuous by their absence from the stage. Early movers on the climate-change theatre scene included Caryl Churchill's 2006 climate-change libretto for the London Proms, We Turned on the Light, and John Godber's 2007 play Crown Prince. Since then, interest has steadily increased. In 2009 came Steve Waters's double bill The Contingency Plan (On the Beach and Resilience). This was quickly followed by Earthquakes in London by Mike Bartlett in 2010, and by three further plays in the spring of 2011: Greenland, the collaborative work of Moira Buffini, Matt Charman, Penelope Skinner, and Jack Thorne; The Heretic by Richard Bean; and Wastwater by Simon Stephens. In this article Julie Hudson focuses on three of these works to explore how the plays engage with the debate through the medium of climate-change science. As her article suggests, these British climate-change plays make an important and occasionally subversive contribution to the long-running discourse on the relationship between science, the ecosystem, and human beings. In performance, they succeed in turning a subject that has been overplayed for effect in the public domain into compelling theatre. Julie Hudson is currently a visiting fellow at the Smith School of Enterprise and the Environment, Oxford University. [ABSTRACT FROM PUBLISHER]

In this article Caroline Heim explores an avenue for the audience's contribution to the theatrical event that has emerged as increasingly important over the past decade: postperformance discussions. With the exception of theatres that actively encourage argument such as the Staatstheater Stuttgart, most extant audience discussions in Western mainstream theatres privilege the voice of the theatre expert. Caroline Heim presents case studies of post-performance discussions held after performances of Anne of the Thousand Days and Who's Afraid of Virginia Woolf? which trialled a new model of audience co-creation. An audience text which informs the theatrical event was created, and a new role, that of audience critic, established in the process. Caroline Heim is a lecturer in Performance Studies at Queensland University of Technology. Her PhD examined the changing role of theatre audiences in recent years. [ABSTRACT FROM PUBLISHER]

The article discusses the operas "Four Saints in Three Acts" and "The Mother of Us All," written by Gertrude Stein and Virgil Thomson. The music and themes are compared in the context of pageants based on American history. The discussion focuses on how the characteristics of historical figures such as suffragette Susan B. Anthony and Union Army military commander and 18th president of the United States Ulysses S. Grant are portrayed. The dramaturgical idea that plays are landscapes of relationships is mentioned.

Little attention has been paid to the fact that Grotowski's first tour abroad with the Laboratory Theatre was to the Scandinavian countries rather than to Paris, as is often imagined. In this article, Franco Perrelli focuses on the responses of critics, especially in Sweden, to performances of The Constant Prince and to the seminars and other discussions accompanying the tour. He thus provides a comprehensive account of the impact made by Grotowski and his actors in their first encounter with spectators outside Poland. A specialist in Scandinavian theatre, Franco Perrelli is Chair of Performing Arts and Head of the Doctoral School in the Department of Art, Music, Theatre, and Cinema (DAMS) at the University of Turin. His books include Echi nordici di grandi attori italiani (2004), La seconda creazione. Fondamenti della regia teatrale (2005), I maestri della ricerca teatrale. Il Living, Grotowski, Barba e Brook (2007), and Strindberg: la scrittura e la scena (2009). [ABSTRACT FROM AUTHOR]

The article discusses "Pageantry," a performance art collaboration between performance artist Denise Uyehara and Indonesian dancer and choreographer Sri Susilowati. A synopsis of the performance, which includes a free association technique and the concepts of war, deracializaiton, reracialization, rupture or a challenge to social norms, and female empowerment, is presented. The connection of Japanese rituals of life and death with the costumes, the shame of internment, and the conflict of East and West cultural values are mentioned.

The article discusses "Fei C' Mei Aihuiñ Tuhun (Es bueno mirarse en la propia sombra/It's Good to Look at One's Own Shadow)," a play by Luisa Calcumil who is a Mapuche actress from Patagonia. The Mapuche cultural values that empower the indigenous people, the representation of racism, mysogyny, neocolonialism, and classism, and the exploitation of land and labor are discussed. The topics of false consciousness, self-perception, self-affirmation, and centering are mentioned. The affect of forced migration on indigenous women is also discussed.

The article discusses a dance program titled "Choreographing Identity" which is curated by Susan Leigh Foster and performed by four experimental dance artists. The dancers are Taisha Paggett, Rebecca Pappas, Christine Suarez, and Hana van der Kolk. The concept of mobilizing inbetweeness and the political aspects of choreography and identity are discussed. The program represents situations of race, gender, and national affiliation, as well as diasporic allegiance and a sense of belonging in private and public spaces.

In 1946, Eric Bentley published The Playwright as Thinker, a revolutionary study of modern drama that helped to create the intellectual climate in which serious American theatre would thrive in the second half of the twentieth century. In 1964 Robert Brustein published an equally influential study of modern drama entitled The Theatre of Revolt. And in 1966, Stanley Kauffmann began a brief, combative stint as first-string theatre critic for the New York Times. Kauffmann's short-lived tenure at the Times dramatized the enormous gap that had arisen between mainstream taste and the alternative vision of the theatre that he shared with Bentley and Brustein. Collectively, these three critics championed the European modern dramatists, like Pirandello, Brecht, Beckett, and Genet, whose plays were rarely if ever performed on Broadway. They also embraced the early work of performance groups such as Julian Beck and Judith Malina's Living Theater when they were either ignored or deplored by most mainstream reviewers. Above all, they challenged the time-honoured idea that the primary goal of the theatre is to provide the audience with an emotional catharsis achieved by realistically identifying with the dramatic protagonist. By contrast, Bentley, Brustein, and Kauffmann championed a theatre that emphasized poetic stylization, intellectual seriousness, and social engagement. The discussion which follows, held on 27 October 2007 at the Philoctetes Center, New York, examines the legacy of these leading American theatre critics of the past fifty years. Bert Cardullo, who transcribed and edited the discussion, was Stanley Kauffmann's student at the Yale School of Drama and is the author, editor, or translator of many books, among them Theater of the Avant-Garde, 1889-1950, What Is Dramaturgy?, and American Drama/Critics: Writings and Readings. [ABSTRACT FROM AUTHOR]

The article presents an examination of "The King Lear Project," a critique of stage performance as illustrated through the "Lear" essays, directed by Ho Tzu Nyen and Fran Borgia. "The King Lear Project" is compared to the "King Lear" stage performance by the Royal Shakespeare Company. The author discusses metatheatricality and audience participation in the production. Several reviews from Singapore of the play are explored. An act-by-act analysis of the play is offered and discusses character-audience relationships and symbolism.

The author provides his perspective on the critical reviews of the stage production "The King Lear Project," in which he acted. He discusses the evaluation of theatre, self-reflexiveness of reviewers, and theatrical judgment. The book "The Masks of King Lear" by Marvin Rosenberg is used to highlight the facets of human judgment. The reception and interpretation of theatrical criticism is explored alongside the author's methodology for critique. The author examines whether judgment has an implied violence.

The article explores the human figure as illustrated by theatrical anthropocentricism. The roles of human action alongside speech in the mutation of anthropocentricism on the stage is discussed as it relates to classical philosophical texts and modernism. Guidelines for the critique of anthropocentricism, which include theatricality, are set forth and the Western interpretation of scene are examined. The author comments on Aristotle's notion of tragedy in light of Aristotelian drama and Dramatic Platonism.

The article presents an overview of the tools and corpus which should be used in a field of study which examines all of the creative work that leads to the presentation of a theatrical performance. A discussion of the important role an analysis of the creative work behind a theatrical performance plays in developing a better understanding of the performance is presented. The creative work, including the development of textual drafts and director's notes, which leads to any theatrical presentation, are discussed.

During the early years of the nineteenth century children laboured in factories, down mines, up chimneys, at sea -- and in the theatre. In this article, David Haldane Lawrence discusses the portrayal of child labour in the drama of the 1830s and 1840s, concentrating on five plays: The Factory Girl, The Factory Boy, The Dumb Man (or Boy) of Manchester, The Climbing Boy, and The Cabin Boy, whose child heroes extricate themselves from appalling conditions to confront their villainous oppressors, and through coincidental circumstances are elevated to a higher social position. But the realities of child labour are not fully portrayed on the stage, and the working boys of the period remain idealized figures. Here, a comparison is made between this idealization and the actual working conditions of child labourers. The theatricality inherent in the stage representation of child labour is further enhanced by the fact that the leading 'boy roles' were usually played by women, and the performances of the cross-dressed specialists in 'boy roles' is also discussed, as is the influence on 'factory boy' drama of socially relevant fiction, particularly Frances Trollope's novel about child labour, The Life and Adventures of Michael Armstrong the Factory Boy, published in 1840. [ABSTRACT FROM AUTHOR]

The article discusses the role of ethics in "La Farce de Maistre Pierre Pathelin." Significantly, the author pointed out that there is a long-standing tradition in theater criticism of disparaging medieval farce as an essentially vulgar, inconsequential, and even immoral genre. There has been attempt to rehabilitate farce focus on aesthetic, formal and conceptual issues at the expense of social, political, and ethical ones. Finally, the author cited several views and perspectives of critics on farces tragiques.

The article examines the theater work of Chinese American theatrical writer, director, producer, teacher and choreographer Ping Chong. Ping Chong's works have been labeled as Asian-American, multimedia and postmodern. The author argues against the labels and suggests that Chong's work raised questions about the generic and textual frameworks in the study of theatrical performance. His plays "Snow", "Nuit Blanche: A Select View of Earthlings" and other plays are analyzed.

The article examines Roland Barthes' criticism of the French theater in the 20th century and his association to the French literary figure Bertolt Brecht. Barthes wrote more than 70 articles about the theater and theories of representation. Included in the article are discussions about the popular-theater journal "Th&#x00E9âtre populaire," launched by Robert Voisin to assist Jean Vilar's theater work.

Discusses the import and role of theater history. Focus on African American theater history; Argument for a critical historicism, a process that recognizes the need to historicize and situate dramatic criticism; Need to theorize history; Awareness of the material conditions that shape theatrical production and the historical interpretations of production; Implication of a need to work against conventional historical narratives and the ways in which history has been told.

Explores the contradictory and frustrating manifestations of the plays of British playwright and stage director Edward Bond. Summary and evaluation of his works; Influence of the experiences of Bond with the Royal Shakespeare Company on the story line of his plays; Criticisms by other writers to Bond's works.

Features the plays of 1960s farceur Joe Orton. Compliments made by critics on his plays; Effects of scrupulous understanding of genre and plot construction; Significance of using non-verbal elements in a play.

Provides insights on theater critics. Functions of the critic in the theater; Reasons for the flux and contradiction of responsibilities the towards theater; Significance of the art ephemerality on the craft; Definitions and boundaries of theatrical criticism.

Analyzes two of 1970s Shakespearean adaptations namely Charles Marowitz's `Measure for Measure' and Edward Bond's `Lear'. Effect in today's reception of Shakespeare. Parallels between both adaptations; Anticipation of the critics in their approach to the text; Adaptations seen as a form of stage-centred criticism; Arbitrary and historical appropriation of the original text.

Discusses the importance of rhetoric of ostension for theatrical performance. Ostension as an essential feature of performance; Three basic figures corresponding to the three main degrees of manifestation of the sign; Other figures participating in the system of ostension; Synecdoche's suggestion of a complex reality by characteristic detail; Shakespearean plays demonstrating the system of ostension.

Relates the life and works of Irving Wardle as a theatre reviewer in England. Motivations and underlying turning points of career; Era of the playwright; Interpretations and insights; Theater as a regenerative force; Changes in the perspectives; Liberals versus the puritans.

Presents a critique of Marxist theater. `A Doll's House'; Theater as an arena of political struggle; Function of the theater critic; Theater of Luigi Pirandello.

Assesses the nature and significance of artist John Cage's intermedia performances and their immediate influence on such other work. Analysis of contemporary theater based on Cage's aesthetics; Review of Cage's theater works.

Presents a debate on the use of African American scripts in a multicultural classroom as a way of questioning and redefining the concept of dramatic canon. Illustration of the ways in which non-traditional casting methods can reinforce the process; Discourse on multiculturalism.

The article presents information on the Dionysia festival which is considered crucial in understanding Greek culture and the history of drama and literature as well. It suggests that dramatic criticism should concentrate on the plays as pieces for performances. It informs that the ceremonials conducted prior to the performance of a drama were indicative of the festival's production in the democratic ancient Greek city-state. It is stated that the drama festival, plays and ceremonials together, offers not just the profundity of a great dramatic literature but also the extraordinary process of the developing city. The Dionysia festival includes both, comedy with its obscenity and lampoons, and tragedy, with the images of a collapsing society.

The article discusses the criticism on the comedy play "Mandragola," by Italian political writer Niccolo Machiavelli. It questions whether the play has serious relationship with the comic works of Machiavelli or it is a tribute to the writer's versatility. Literary critics believed that the play overlooks its political message, however, it does not differ from the rest of Machiavelli's writings.

An interview with multimedia artist Ho Tzu Nyen is presented. When asked about the written texts which influenced the stage production of "The King Lear Project," he comments on his dramatic intentions and returning the word to the performance stage. Tzu Nyen comments on being misunderstood by reviewers and the aesthetics of reviewing. He expands on the connection and psychological identification between character and audience.