Natasha Tripney

Festival of German-language theatre focuses on the theme of trauma

Intense and moving family drama about the emotional aftermath of the loss of a child

Broader definitions of art and practices that encourage long-term development are the norm in Europe. Could the UK learn a lesson from its continental counterparts?

The historic Ivan Vazov National Theatre, in Bulgaria’s capital Sofia, is undergoing something of a renaissance thanks to new leadership and new international programming. Its team tell Natasha Tripney about its vision for the future and the challenges of achieving change

London audiences today can experience some of Europe’s most exciting theatremakers – even if some things feel a little lost in translation

Theatremakers from countries including Hong Kong, Turkey, Serbia, Hungary and Belarus discuss censorship in all its forms, from overt interference and the pressure to self-censor to the grey areas that can restrict artistic freedom

Straddling comedy and drama, Gemma Whelan feels as though she has finally found her groove as a performer. The Game of Thrones actor talks about how she got there and discovering a new side to the Brontë sisters with her latest play

Over the past 35 years, the European Theatre Convention has become a serious player on the continent, but there is one place it has always struggled to reach: the UK. The network’s president Cláudia Belchior and some of its members tell Natasha Tripney about artistic collaboration, advocacy and why British theatre should take note

In its latest piece, German collective Rimini Protokoll simulates an ‘impossible’ Taiwanese embassy, highlighting the territory’s diplomatic isolation. The show’s directors tell Natasha Tripney how they explored questions of nationalism through real people’s experiences

Do forthcoming West End productions with international roots point towards further doors opening between Europe and the UK?, wonders The Stage’s international editor Natasha Tripney