GABRIELE NEHER draws attention to an astoundingly skilled Flemish painter who defied the notion that women cannot paint like men
Latest editorial
An opportunistic misinterpretation of Brecht’s intentions
ANGUS REID challenges a narrative that has no interest in reality or politics and uses Brecht to side with the cultural right wing, the partisans of Greek ethnic superiority
Graves of the children of the Karabudak family murdered in the Maratha massacre described by the UN as a crime against humanity. The perpetrators were EOKA-B an ultra right-wing Greek Cypriot paramilitaries led by Georgios Grivas
[Seksen iki yuz kirk bes/Creative Commons]
The Bard pays homage to Hull’s finest promoter and venue, and awards Douze Points to Laibach
KEVIN DONNELLY outlines how the bourgeois institutions inhibit our ability to to view art in revolutionary ways, and suggests some tactics to overturn it
ANDY HEDGECOCK welcomes an accessible - and optimistic - take on our relationship to new technology
JOHN GREEN suggests that a new, biased, and highly readable re-hash of the story of the Cambridge Five be taken with a large pinch of salt
BRENT CUTLER welcomes a timely reminder of the long history of protests and the outdoor spaces in which they takes place
Heinz-Uwe Haus and theatre making in Cyprus and Greece
Edited by Heinz-Uwe Haus and Daniel Meyer-Dinkgrafe
Cambridge Scholars Publishing £68.99
HEINZ-UWE HAUS is the East German theatre director credited with kick-starting the National Theatre of Cyprus through a series of popular productions of Brecht and ancient Greek classics in the mid-70s.
It is a poisoned legacy.
Similar stories
GORDON PARSONS salutes the apt return of Brecht’s vaudevillian cartoon drama that retains the vitality of the boxing or the circus ring
NICK MATTHEWS recalls how the ideals of socialism and the holding of goods in common have an older provenance than you might think
ANDY HEDGECOCK relishes an exuberant blend of emotion and analysis that captures the politics and contrarian nature of the French composer
ANGUS REID calls for artists and curators to play their part with political and historical responsibility