Any translator worth their salt can tell you the real work of translation is not the literal (painstaking!) rendering of one language into another, but instead the necessary accompanying cultural translation that carries the meaning of the work.

Amelia Parenteau interviews Bunny Lushington of the Fortress of Lushington, bringing us the second article in a series on theatre and dance venues in New Orleans.

For those unfamiliar with the term “racialized trauma,” counselor Ayanna Molina of True Love Movement explains: “Trauma is hurtful, emotionally damaging situations that you cannot control. [With my clients], the racialized component is that [they] happen specifically because you are Black.”

The first article in a series on venues in New Orleans. Journalist, Amelia Parenteau interviews Wynn Thorn, the Artistic Director of the new immersive event space and black box theatre, Nostalgia Purgatory.

An interview between Amelia Parenteau and Jon Greene, founder and Artistic director of the Radical Buffoons.

This Carnival, Eva Doumbia and Marie Houdin, two French theatre artists, returned to New Orleans at the height of parade season, each drawing inspiration from the city and forging connections for their upcoming public art projects.

Good Chance Theatre was started by two Brits, Joe Murphy and Joe Robertson, when, in 2015, they passed through Calais, France, on their way to Germany and they saw the makeshift refugee camp that had formed there.

Elizabeth Vega is an “artivist” – an artist and activist who understands that art is its own form of powerful resistance. She has dedicated her life to harnessing that power and teaching others how to do the same. Based in St. Louis, Missouri, she works constantly on projects that combine art and activism...

Can a Black girl be called “pale”? How about a Latina ? No matter how you parse the linguistic technicality, the word smacks of whiteness, said one of the actors. And so on Day Two of rehearsal at People’s Light in Malvern...

When you hear Princeton, New Jersey, “bastion of French culture” may not be the first thought that comes to mind. (In fact, according to the 2010 US Census, only 618 people were recorded as French speakers in the city, which has a population of 28,572.)

Driving through Tahrir Square at dusk, crammed into a van with other U.S. and European theatremakers, headed to the conference-sponsored hotel, my eyes couldn’t drink it in fast enough: the lights, the people, the gargantuan propaganda billboards and television screens signaling the impending presidential “elections.”

The 7th Edition of Seuls en Scène, Princeton French Theater Festival, presented Doreen, written and directed by David Geselson from Compagnie Lieux-Dits on September 28 and 29, 2018. David Geselson spoke to journalist Amelia Parenteau before leaving Princeton.

As theatre folk know well, sometimes the most meaningful creations are borne out of the fruit of circumstance. To wit, the Lantern Theater Company in Center City, Philadelphia, happens to be located around the corner from the Sidney Kimmel Medical College (SKMC) of Thomas Jefferson University.

This interview with playwright and director Travis Russ and composer/lyricist Priscilla Holbrook was conducted in Parenteau's research and development capacity for the project America is Hard to See...

In 2012, I traveled from Paris, where I was studying, to Arles to see a production of a play I was translating into English, Louise, elle est folle, by Leslie Kaplan, starring and co-created by Elise Vigier...

I first started working with Travis Russ’ Life Jacket Theatre Company in May 2015, by the New York miracle of answering a Playbill ad. Months later, I had read more about sex offenders than I ever thought I would have cared to know...

In Dakar, Senegal, the general refrain is that theatre “doesn’t exist” in the nation’s capital city, the westernmost spot on the continent.

This past October, I had the opportunity to live in residence with the theatre company and students in training at the Village Ki-Yi Mbock, in Abidjan, Côte d’Ivoire.

To find out more about the practice and implications of documentary theatre, I gathered some of the field’s veterans for a frank conversation about their craft, how it’s changed—and how...

What’s in a name? Of the seven contemporary theatremakers I spoke to for this piece, not one was happy with the term “documentary theatre” to describe their work. All had...

WOKE is a new play by Amelia Parenteau about an intimate interracial relationship, set entirely in a bed, directed by Emma S. Kimball.

In Miracle Village, a community for convicted sex offenders in rural Florida, five men sit in a therapy class, and are made to introduce themselves. “Say what your offence is, and then say what you actually did,”

The ‘we’ is all of us (even those fresh and foreign to the process) who’ve worked on America is Hard to See, the ‘here’ is the Edinburgh Fringe Festival, and the question — more complicated than I alone can answer — is:

(Projection) peels back the layers of a New York millennial apartment, subverting and reinforcing the classic living room play to reveal the universal truths of defining yourself in your 20’s....

The ACT / Actions Caribéennes Théâtrales project is initiated and coordinated by Stéphanie Bérard, specialist in Caribbean Theater, author of Théâtres des Antilles, in collaboration with Frank Hentschker from the Martin E. Segal Center at CUNY-The Graduate Center...

August-September 2019

In a world of chaos, where International alliances have collapsed, everyone has become a refugee fleeing conflict and famine. As border crossing becomes increasingly dangerous, a lucrative commodity emerges in the digital marketplace.

Campbell’s collection presents four plays that constitute a sliver of the breadth of contemporary French theater. As Clare Finburgh writes in her judicious introduction, “[T]oday’s [French] theatrical landscape tends to be characterized...