Following the release of new film Censor, Natasha Tripney traces the stories of screen violence, from Mary Whitehouse’s outrage to today’s horror theatre livestreams.
Exeunt marks its tenth birthday with a look back at its beginnings from co-Founding Editor Natasha Tripney.
Picking at scabs: Natasha Tripney writes on two shows that messily subvert Slovenia’s sense of national identity.
Should cases be tried in theatres? Natasha Tripney asks lawyers and theatremakers for their views on the Lowry’s role as a temporary courtroom.
The 2020 Edinburgh fringe is (mostly) cancelled this year. So Natasha Tripney’s cut-up style poem imagines what the festival will be like, when it returns.
No place to mourn: Natasha Tripney writes on an audio drama about the aftermath of the atrocities in Bosnia.
Who is theatre for? Why does it matter? What do we stand to lose? A group of directors, producers and critics talk theatre and community.
“Something positive came out of this shitty situation:” Natasha Tripney talks to the artists who are moving Eastern European arts festival POSTWEST online.
“It’s the theatrical equivalent of found poetry”: Natasha Tripney discovers the resourceful, richly textured techniques of Belarus Free Theatre’s online performance.
A tragedy in two acts: Natasha Tripney assesses the theatrical merits of the government’s most recent instalments of live-streamed satire
What dreams may come: Natasha Tripney discusses a US production of Jeton Neziraj’s dystopian story of sleep and the subconscious.
How can we support artists better? What forms can collaboration take? A group of artists and producers discuss the future of making work collectively.
“I’m learning a culture and a country through its theatre”: Natasha Tripney writes on her enriching encounters with online performance.
The discussion concludes with an exploration of aesthetics and set design in European theatre; and questions about what it will take for the UK to change.
The conversation continues, as a group of directors, dramaturgs and critics discuss how European theatre practitioners approach text.