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.
Francesca Peschier chats to a horde of theatremakers/dungeon-masters/rampaging orcs to ask what theatre can learn from D&D.
Lucy Bell writes on the underexplored challenges and unexpected aptitudes that come from mixing a career in the arts with life as a carer.
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.