A new initiative is holding theatres accountable on Black representation. Here’s more info, plus thoughts on Exeunt’s aims for the future.
“When you go to a live performance, you take your body with you”: Annie Saunders writes on the essential connection between medium and message.
Holly Williams loops back to Simon McBurney’s time-bending binaural adventure, and asks him what it can say to lockdown audiences.
A group of theatre and performance organisations are coming together to offer support and a voice to freelancers. Their open letter explains why.
We could have celebrity monologues in half-empty auditoriums. Or, we could look to the experimental theatremakers who’ve made space for new forms.
How can we support artists better? What forms can collaboration take? A group of artists and producers discuss the future of making work collectively.
Alice Saville surveys the freelance theatre workers who aren’t covered by government support, and have been left without income overnight.
Selina Thompson lists and itemises the performances to come, once lockdown is over.
“I’m learning a culture and a country through its theatre”: Natasha Tripney writes on her enriching encounters with online performance.
Exeunt’s writers pen micro-reviews of the tone-deaf, delightful, or dazzlingly weird video art created by celebrities under lockdown.
Farah Najib reflects on the impact of school closures on kids, and on what theatres can do to reach children in lockdown.
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.
Directors, dramaturgs and critics discuss how the European repertory model empowers actors and influences the work that gets made.
Exeunt writers talk about the theatre-related books that they’ve been turning to for comfort, inspiration and new ideas.