Uplift and downfall: Diana Damian Martin reviews Yasmine Hugonnet, as part of London International Mime Festival.
Winter wonderland: the egg and Travelling Light Theatre Company create a sensory world of snow.
Slow criticism: Diana Damian and Anette Therese Pettersen consider a meditative seaside performance created by Norwegian artist Ingri Fiksdal.
A deliberate toying with dance concepts and histories: Diana Damian Martin discusses the Barbican’s Trajal Harrell performance exhibition.
Dance in the age of climate change: Diana Damian Martin discusses this year’s Ravnedans festival in Norway.
Diana Damian Martin writes on how Porto’s international theatre festival FITEI explores ideas of community, memory, and the past.
Squishy, pulpy, squelchy, flabby: Diana Damian Martin reviews Turned On Its Head’s show for babies and toddlers.
A pop shamanic spell like no other: Diana Damian Martin reviews Ultimate Dancer at the Southbank Centre.
Performance festival Steakhouse Live returns for 2016 with a beefier line-up and a new embedded writing programme led by Diana and Bojana. Here, they discuss the fest’s growth, and why we need to think about new models of criticism that can support the shape-shifting practices of live art.
“Where fake muses stand on fake plinths to pose for fake male gazes”: Diana Damian Martin reviews the post-Edinburgh run of Two Man Show at the Soho Theatre.
“Your silhouette is an outrage to beautiful materials”. As part of a series of articles on theatre in translation, Diana Damian Martin explores the complexities of translating NDiaye’s text ‘Les Serpents’, a mythological exploration of colonialism.
“So what is the new Tate Modern? Is it the ultimate neoliberal art institution?” As the gallery opens its vast new Switch House extension, Diana Damian Martin explores the interplay between economics, performance and public engagement.
While some try to find their voice, Nando Messias has discovered his walk. Ahead of his performance ‘The Sissy’s Progress’ at Toynbee Studios, he discusses his experience of homophobic violence – and why he will not be silenced.
Diana Damian Martin finds that the Tate Modern’s exhibition imposes an “obscure, totalising framework” onto the complex interplay between performance and photography.
Poetics, conversations and form in critical writing: a series of post-Spill Festival reflections.