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In Gorki: Alternative for Germany, Croatian provocateur-director Oliver Frljić turns a critical gaze on Berlin's progressive Maxim Gorki Theatre, examining the ways in which elements of the theatre's language may be contributing to divides within Germany just as much as that of groups from the extreme Right. This production highlights shifts within Germany's politico-theatrical landscape as well as the difficulties of staging dialogues around them. [ABSTRACT FROM AUTHOR]

The article discusses "Ubu the King," a play by Alfred Jarry, which marked its 120th anniversary on December 10, 2016, a mere few weeks after the election of U.S. President Donald Trump. Topics covered include the numerous similarities between Trump and the title character in Jarry's play, the play's examples of abuses of power, and its significance to the current political climate, not only in the U.S., but worldwide.

The article offers criticism of plays by playwright Eyal Weiser, including "Mein Jerusalem: A Performance by Sabine Sauber," "Zohi Ha-Arretz: Salon Dchuyei Ha-Yetzira Ha-Tzionit/Tochnit Bet" ("This Is the Land: The Zionist Creation Rejects' Salon/Program B"), and "Ma Schlom Ha-Chaya? ("How's the Beast?"). Topics include the relation of autobiographical performance to his works, his artistic commentary on political issues in Israel, and the role of the human body in his works.

The article discusses a 2011 performance of the play "Viúvas--Performance Sobre a Ausência" ("Widows--A Performance about Absence") by the theatre group Ói Nóis Aqui Traveiz on the island Ilha do Presídio near Porto Alegre, Brazil. Topics include the relation of the performance to the former use of the island to hold political prisoners during Brazil's military dictatorship, the nature of the political transition from dictatorship in relation to neoliberalism, and the role of playwright Ariel Dorfman in writing the play.

The author discusses engaging in political theatre in Lebanon. He says that he directed six plays between 2013 and 2015 in Lebanon that focused on religious and political corruption, patriarchy, prostitution, homosexuality, manual laborers in a private university, rape and armed conflicts. Some of the plays were research-based and presented in found spaces.

The article chronicles theatre scene in Lithuania. Topics discussed include Lithuanian theatre fighting censorship and occupation before 1991 as well the radically changed current social and political functions of theatre. Also mentioned is the National celebrating its 75th season in 2015 as well as the reconfiguring of its role from advocate of nationalist values to a forum for critically addressing national issues.

The article discusses how Argentine playwright-director Lola Arias' "El Año en que nací (The Year I Was Born)," highlights Chile's dictatorship and its consequences through the performers' varied reconstructions of the past. Topics mentioned include Arias' view on the phenomenon in Chile of public discussion about the dictatorship, the 40th anniversary of the 1973 military coup that led to the collapse of the country's democracy, and the vital role theatre plays in Chilean society.

An essay is presented on the theatricality of protests of capitalism. She talks about the walking dead protest actions of the Occupy Wall Street (OWS) movement in New York City in 2011. She raises a question why this movement selects to appear like zombies to represent capitalists. She relates a trip to the a particular theatre in January 2011 as a method of inquiry into the link between theatre and deadness, and capitalism and deadness.

The article discusses Palestinian theatre companies' emphasis on producing work for children and young adults, focusing on three companies: The Freedom Theatre, Alrowwad Cultural and Theatre Society, and ASHTAR. Various Palestinian theatre productions are described and the companies' role in providing cultural resistance to Israeli Occupation of the West Bank is discussed.

This article discusses political aspects and themes of identity in Maltese theater. The author notes how Malta's autonomy has affected Maltese drama and discusses the history of Maltese theater, including its role as an element of cultural celebrations such as Carnival and how European influence and British colonialism introduced theater to Malta. She discusses how the use of the Maltese language in plays spurred the development of Maltese national identity and comments on the popularity of opera among different social classes of Malta. Maltese theater companies included the Maleth company and L-Indipendenza. The author notes the contributions of playwright Francis Ebejer to Maltese theater.

This article discusses performance art in Alaska in the 2002. Several "site-specific performances" presented are described and analyzed, outlining their primary elements and the dominant socio-political themes they address, including "Go, and Become Lost in Time," on Bishop's Beach in Homer, "Urban Memory Forest," at a vacant lot in Anchorage, and "One Fish, Two Fish, Red Fish, Dead Fish," at Ship Creek in Anchorage. Additional commentary is offered regarding the artistic reception of the public art in Alaska.

This article discusses the production of a performance piece called "One Square Foot: The Still Small Voice of the People," which articulates the micro-political conflicts faced by residents of the divided island of Cyprus. Performers participated in the development of this show by collecting stories from people affected by the political conflict between Greek and Turkish residents of Cyprus. The role of interpersonal relations, political participation, metaphor, rhythm, and repetition in the construction of a single cohesive performance from the varied contributions collected by performers is described.

This article discusses the political use of theater as a vehicle of criticism of war and conflict in Columbia, particularly through the national tour of the production "Kilele: An Artesanal Epic," by Felipe Vergara. Details are given regarding the 2004 massacre in Chocó, Colombia which is re-enacted and explored within the play. Several thematic paradoxes inherent in the work are highlighted such as its vocal opposition to governments despite it's funding by them. The work's use of cultural elements such as music and ritual are also discussed in depth.

This article focuses on the theatrical practices of Rwanda in relation to the political and social stability of the nation. The political use of theater as a means of exploring nationhood and identity through their history is analyzed in detail. Three levels of theatrical pursuits are explored wherein each assists in the interaction with Rwandan history and the re-imagining of nationhood, including legendary theater, the rewriting history project, and the productions of grassroots associations. The various levels of government and organizational cooperation with the theatrical endeavors are also explored.

This article discusses the performance adaptation of testimonies of witnesses from the Special Court for Sierra Leone between May 2005 and August 2007 and its psychological and political benefits. Details are given outlining the political conflicts of the region since 1989 and highlighting United Nations indictments in 2003. The personal account of one woman under the pseudonym Nancy is described as an example of the brutalities experienced by civilians of Sierra Leone. The use of drama as a means to help the witnesses express their atrocities is described and analyzed. INSET: "What Happened to Us".

This article features the history of the German theater crisis. It states that the collapse of communism in the German Democratic Republic (GDR) followed by the process of German reunification are the reasons for the shake up of domestic theater structures since 1933. This is said to have endured for several years, which led to theater closures. It also states that while German theater companies struggle to berate cultural politicians for reducing budgets, they have not done enough to find other sources in the private sector.

This article is from a presentation about performance studies at the "State of the Profession" roundtable which was held at the 2005 meeting of the American Society for Theatre Research in Toronto, Canada.

The article discusses the issues involving the modern dance and theater community in the U.S. The author states the likely outcome if dance and theater were merged or conflated like the tradition of dancer and choreographer Martha Graham and Belgian choreographer Alain Platel. He comments that the recent generation of theater depicted less involvement by young and poor artists.

Presents information on theatrical censorship in Iran. Use of performing arts in the service of political ideology; Discussion on political administration on theatrical productions in the country; Censorship of the play "A Midsummer Night's Dream," by William Shakespeare; Publicity on performing arts.

Features the Teatro La Fragua in Honduras. Assumptions on La Fragua's work; Profile of Jack Warner, founder of the theater; Several productions presented at La Fragua; Changing views of Warner about theater and politics in Honduras.

Focuses on the impact on Polish theater of the political transformation which occurred with the June 1989 parliamentary election victory of the Solidarity Party over the Polish Communist Party. Theater's role in the public life of capitalist Poland; Renewed resistance to women's empowerment with the restoration of capitalism and political pluralism; Political and social issues tackled by Polish theater.

Focuses on the Theatre of the Oppressed and the Forum Theatre discovered by Augusto Boal. Dramatization of a community's specific problems through the Forum Theatre; Focus on the performance of Forums from around the world; Demonstration by the Theatre of the Oppressed against child killings in Brazil.

This article discusses theatrical director Augusto Boal's theatre of oppression. There are two points to consider in understanding Boal's work in its changing context: First, although North and Latin America share an intimate history, they each represent contradictory positions within it, another point pertains to the problem of Boal's relocation which relates to an apparently apolitical attitude that pervades the contemporary art scene in New York City. Cop in the head, Boal's latest technique, involves the internalized struggle between the interdependent oppressed and oppressor within each individual, as well as within every ethnic, racial, gender or class community. The catalyst for his creation of the theatre of the oppressed was his recognition of a lack of dialog.

The article presents an interview with theatrical director Augusto Boal about his theatre of the oppressed workshops with women. When asked about when he began to apply his work to women's issues, Boal refers to a public performance in Italy in 1976 or 1977. He comments on how image theatre works with women and on the political philosophy of collectivity. He discusses whether prior acting training help people go further.

The article presents an interview with theatrical director Augusto Boal about the state of political theater. When asked about the Brazilian situation in 1989, Boal mentions the impact of President Jose Sarney's election victory on the forum theatre and other school programs implemented in Rio de Janeiro. He emphasizes the essence of political theater. He explains the concept of the cultural animators, along with its origin.

The article offers information on the theatre of the oppressed which emphasizes theatre as a language that must be spoken, not a discourse that must be listened to. In addition, it stresses theatre as a process that must be developed, rather than a finished product that must be consumed. There are only active observers in a theatre of the oppressed session. Its center of gravity is in the auditorium instead of the stage. The fundamental principles of the theatre of the oppressed are: to help the spectator become a protagonist of the dramatic action so that he or she can apply those actions she or he has practiced in the theatre to real life. The Cop in the Head process in this kind of theatre has three hypotheses: osmosis between macrocosm and microcosm, metaxis and analogical induction.

The article discusses the Occupy protest movement, arguing that the movement embodies effective performance techniques in pursuit of a utopian future. The author notes the police eviction of protesters from the Occupy Wall Street encampment in New York City's Zuccotti Park, but contends that the movement's protest against economic inequality will have continued influence.

The article examines how the play "Walk" by Maya Rao has been performed in spaces of protest as well as colleges and theater festivals. It details how the play was first performed in 2012 at Jawaharlal Nehru University (JNU) in New Delhi, India during a protest following sexual violence and again in 2016 after JNU Student's Union (JNUSU) president was arrested for student demonstrations against the capital punishment given to Afzal Guru.