MAN.IN.FEST was more than a publication about performance culture. It was a critical discourse space, based on what is called cross-art in performance culture, that is to say the intersection between flowing practices and concepts, defined by the combustion of aesthetic limits in a de-dramatisation of genres.

On the stage, a retarded boy, Ricky the Grand, speaks mostly in verse, believes he is a cheerful bunny, but show some inclinations for rape. His mother, Auntie Blackberry, an odd girl delivering apocalyptic lines, is obsessed and terrified by mice. One of them appears embodied having only a head, like in puppet theatre.

Those in for a detective novel like the truest of the true, such as an Agatha Christie's for instance, with a slightly gothic atmosphere where you don't know for sure whether the criminal hand is human or if not somehow coming out of a fresh tomb, like “Carries”'s famous hand in the homonymous film, will be more than delighted with Radu Afrim's new show staged at Theatre 74 in Târgu Mureș, “Sparrow on the Roof”, on a text by Adam Rapp

The deepest and at the same time poetic performance in the Gdansk Shakespeare Festival was Miranda, directed by Oskaras Korsunovas, from the OKT, the Municipal Theatre in Vilnius. With an original cut from The Tempest, reduced to only two characters - Prospero and Miranda -, the director left intact the essence the in Shakespeare's text: the magic in the art of creating universes out of nothing but imagination and talent.

In 1935, anthropologist Dimitrie Gusti documented for the first time the Unwritten Theatre, a company with rural specifics in the Şanţ village, Bistriţa Năsăud County.

How do you think Hamlet looks like nowadays, in the Coca Cola civilization, in the era of multiplication and serialisation, where any first object in a series – not to say original, as the term is obsolete -, is lost in a pile of reproductions, or serves to a mass production industrial line?

For the fifteenth successive year, the “Szekspirowski” Festival celebrated Great Will in three cities on the shore of the Baltic Sea: Gdansk, Gdynia and Sopot. The organisers have put together a serious festival, with diverse stylistic proposals, in their aim to provide as many varied samples of the countless stagings on texts by Shakespeare.

Bravo to the directors, choirs, orchestras and soloists... and, above all, to the Adam Fischer Wagner Festival, organized since 2006 at the Palace of Arts Budapest (MÜPA), every year more cherished by its visitors. Under the artistic direction of Adam Fischer are invited many stars of the opera, and some of musicians are part of those who interpreted Wagner's works at Bayreuth.

Author of one of the best and most expressive Cherry Orchards that I have seen, Andreea Vulpe is among our directors whose ear seems to be naturally tuned to Chekhov. Not only does she update and make him sound modern, but her directorial vision emphasizes exactly the dimensions consonant with the spirit of the age.

The text is a way of thinking reality in structural contradictions and ambiguities. It is an exercise of conflictual naming of reality, of investigating it and not making it explicit. The text questions, it does not solve a set of communities of ideas specific to a particular cultural content.