States that Theatre de Complicité was founded in 1983 by Simon McBurney, Annabel Arden, and Marcello Magni, and has since established its reputation as one of Britain's leading experimental physical theater companies. Discusses the construction, performance, and implications of one of their recent works, "Mnemonic," which premiered at the Salzburg Festival in 1999, and has since toured to London's National Theatre and the John Jay College Theatre in New York. Interrogates the impact of the performance's incompletion, addressing the ethical issues raised by recognizing the indeterminacy of the past.
All major cities are now competing with each other to attract cultural tourists; yet Prague, since the Velvet Revolution, has been distinctive in using the city itself as a cultural icon, also capitalizing on the artists associated with itnotably Mozart, Gluck, Kafka, and Arcimboldoto create performances that present an idealized an imagined Prague, the city as its own persona. Since tourists might hesitate to go to Czech-language drama, theatrical entrepreneurs instead offer puppet opera, Black Theatre, and Laterna Magikaforms closely associated with Prague, and which circumvent the language problem. Thus, during the summer, when the regular theatres close, Prague theatricalizes itself for tourist consumption.
The theatre of Eastern Europe has not always benefited as fully as might have been expected from the supposed freedoms which followed the collapse of Communism. State support for institutional theatre has been drastically reduced, while the 'alternative' theatre, though no longer constrained by a formal censorship, has had seriously to consider what it is now alternative to. Magdalena Golaczynska takes 1989 as starting point for a survey both of the framework within which alternative theatre no works, and of the three main strands that have emerged int he closing decade of the twentieth centuryof companies continuing to produce socially critical work, of groups exploring experience at a more personal and existential level, and of 'collective creators' whose concerns are rather with pushing the boundaries of performance itself.
The year 2000 prompted a review of the past millennium that took various formsand lent a special significance to revivals of the medieval mystery plays for the celebrations in Coventry and York. Margaret Rogerson here argues that, no less than their local medieval counterparts, revivals can function as both community theatre and religious celebrationtheir appeal in a secular modern world raising fewer questions than versions of the Christian story adapted for the commercial of institutional theatre. She demonstrates how special efforts were made in the millennium revivals to reach out to the community, both local and global, and how through associated educational programmes and the inclusion of a wide range of participants, they introduced innovations into local traditions and built on the past to contribute to a continuing theatrical heritage.