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Ambiguous Space: A Review of the Chinese Play “L’histoire d’un Accident” at Avignon 2025

Feng Lu’s “L’histoire d’un Accident”, presented in Avignon 2025, offers a layered exploration of theatrical space inspired by Henri Lefebvre’s theory of spatial production. The play unfolds through a play-within-a-play structure, blending backstage conflict, parody, and audience disruption to challenge the boundary between fiction and reality. A planted “spectator” blurs the line between performance and life, turning spatial ambiguity into a central aesthetic strategy. Rather than seeking clarity, the production invites audiences to dwell in uncertainty, where ambiguity becomes an essential part of how space is experienced, performed, and emotionally understood.

Lyle Kessler Receives Lifetime Achievement Award In Playwriting

was a student of Lee Strasburg in his private class.  I was directing around town, off-off Broadway, and in other areas in New York.  I was invited to go to his Directors Unit at The Actors Studio for my first play that I was going to direct.  I actually sat down and wrote a play, a one act play. When my play was acted at The Actors Studio, Cheryl Crawford brought in a financial man to hopefully give money to the Studio.  He was so moved by the play that he gave $50,000 to the actual Studio.  Lee Strasburg, who doesn't show much emotion, was deeply moved by the play, and he encouraged me to really continue writing plays.

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Lyle Kessler Receives Lifetime Achievement Award In Playwriting

was a student of Lee Strasburg in his private class.  I was directing around town, off-off Broadway, and in other areas in New York.  I was invited to go to his Directors Unit at The Actors Studio for my first play that I was going to direct.  I actually sat down and wrote a play, a one act play. When my play was acted at The Actors Studio, Cheryl Crawford brought in a financial man to hopefully give money to the Studio.  He was so moved by the play that he gave $50,000 to the actual Studio.  Lee Strasburg, who doesn't show much emotion, was deeply moved by the play, and he encouraged me to really continue writing plays.

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Visit Performap.com - an Interactive Digital Map of Global Theatre and Performance Festivals developed by TheTheatreTimes.com. With hundreds of festivals browsable and searchable by festival location, type, and date, Performap is the first extensive digital index of its kind in the field, built expressly for artists, audiences, critics, scholars, festival organizers, curators, and presenters from around the world.

INTERVIEWS

Lyle Kessler Receives Lifetime Achievement Award In Playwriting

was a student of Lee Strasburg in his private class.  I was directing around town, off-off Broadway, and in other areas in New York.  I was invited to go to his Directors Unit at The Actors Studio for my first play that I was going to direct.  I actually sat down and wrote a play, a one act play. When my play was acted at The Actors Studio, Cheryl Crawford brought in a financial man to hopefully give money to the Studio.  He was so moved by the play that he gave $50,000 to the actual Studio.  Lee Strasburg, who doesn't show much emotion, was deeply moved by the play, and he encouraged me to really continue writing plays.

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Lyle Kessler Receives Lifetime Achievement Award In Playwriting

was a student of Lee Strasburg in his private class.  I was directing around town, off-off Broadway, and in other areas in New York.  I was invited to go to his Directors Unit at The Actors Studio for my first play that I was going to direct.  I actually sat down and wrote a play, a one act play. When my play was acted at The Actors Studio, Cheryl Crawford brought in a financial man to hopefully give money to the Studio.  He was so moved by the play that he gave $50,000 to the actual Studio.  Lee Strasburg, who doesn’t show much emotion, was deeply moved by the play, and he encouraged me to really continue writing plays.

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New York City Fringe Begins April 1

It is ridiculous to think that it’s not enough to curate a Festival.  I would stack up our good to bad ratio against any network season, any Hollywood studio, any program season.  It’s impossible to look at a script six months out and know what you’re going to have on stage.  It’s just not possible.  I’ve helped curate too many Festivals to know that what we read has nothing to do with what ends up on stage, so this method is has been tested since 2007, and we have some amazing shows come through here.

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