Is there a fundamental connection between New York's Elevator Repair Service's 9-hour production of The Great Gatsby and a Kathakali performance?
How can we come to appreciate the slowness of Kabuki theatre as much as the pace of the Whatsapp theatre of post-Arab Spring Turkey? Can we go beyond our own culture's contemporary definition of a 'good play' and think about the theatre in a deep and pluralistic manner?...
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