Un mare poet al limbii române by Ion Brad

“…With the occasion of Fănuş Neagu’s 75th anniversary, Ion Brad, a writer, ambassador and theatre director, collected all the dedications received from his friend on his books during many years.…”
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The Promise of Cultural Diplomacy by Hedda Krausz Sjögren, Kristina Hagström-Ståhl

“…Co-authored by Krausz Sjögren and one of her collaborators during this period, a theatre director and researcher, Kristina Hagström-Ståhl, it also attempts to reflect the shared experience of collaborative work in this sphere. …”
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Invisible Theatre: militarized space and the staging of affective atmospheres by Leah Lovett

“…This paper revisits the circumstances surrounding Brazilian theatre director, Augusto Boal’s first recorded experiment with Invisible Theatre in a restaurant in Buenos Aires (1972) in light of Anderson’s (2014) theory of affective atmospheres in their capacity to mediate structures of feeling. …”
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Directing Dramas is Returning Hometown: Reading Lin Zhaohua’s The Cherry Orchard from the Perspective of the Taoist Freedom, Xiaoyao by Chengyun Zhao

“…Born in 1936 and starting to produce little theatre praxes in 1982, Lin Zhaohua is the first Chinese theatre director who could be considered the predecessor of most other Chinese directors after the proclamation of the 1978 Reform and Opening-Up policy. …”
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‘What a perennial delight is in hearing the French language spoken!’: Class, Language and Taste in the Maison de Molière’s French Performances in London (1871–1893) by Ignacio Ramos Gay

“…British actor and theatre director Sir Herbert Beerbohm Tree would also chime in to eulogize the prosodic qualities of the language of Molière, contrasting it with the British tradition as follows: ‘what a perennial delight is in hearing the French language spoken! …”
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Les chanteuses à la barre by Mélanie Traversier

“…The judicial documentation that have been neglected in the past by the historians of opera reveals the internal professional tensions inside the “showbiz society”, involving female and male singers against the theatres directors. But it also illustrates the complex relations between the female singers and their male concurrents on the operatic stage, and between them and their companions or protectors. …”
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