Although Estonia, Latvia and Lithuania are culturally distinct, they share a common theatre history characterized by resistance, first as a response to Nazi occupation, then as an ideological weapon countering their annexation under strict Soviet ideology. This comprehensive overview of contemporary theatre in the Baltic states includes interviews with major directors, writers, academics and critics, critiques of significant performances, and historical information to familiarize readers with the region. It not only discusses the political ramifications of the three countries' transition from occupied Soviet states to independent members of the European Union, but also addresses the aesthetic, cultural and national issues associated with the move to independence and the adaptation of a Western economic model. More than an introduction, this book is a forum for ideas as well as a detailed, first-hand account of the current scene in Baltic theatre. While useful for anyone interested in contemporary theatre, it is also essential reading for those interested in Baltic studies, post-Soviet cultural history, and recent trends in East European literature.

This eagerly-awaited sequel shares the characteristics of its distinguished predecessor -- wide geographical and chronological span; expert mingling of political, social and economic history; and Dr Kirby's ability to keep the separate national threads of his account from tangling as he weaves them into the broad regional picture that is his main concern. Here he tackles the contrasting experiences of Europe's northern periphery -- affluence and democracy in the north, stagnation and authoritarianism in the south -- from the French Revolution to the collapse of the USSR and beyond. This is a masterly study of a region that is far from peripheral politically to the post-Soviet world.

This is a comprehensive overview of contemporary European theatre and performance as it enters the third decade of the twenty-first century. It combines critical discussions of key concepts, practitioners, and trends within theatre-making, both in particular countries and across borders, that are shaping European stage practice. With the geography, geopolitics, and cultural politics of Europe more unsettled than at any point in recent memory, this book’s combination of national and thematic coverage offers a balanced understanding of the continent’s theatre and performance cultures. Employing a range of methodologies and critical approaches across its three parts and ninety-four chapters, this book’s first part contains a comprehensive listing of European nations, the second part charts responses to thematic complexes that define current European performance, and the third section gathers a series of case studies that explore the contribution of some of Europe’s foremost theatre makers. Rather than rehearsing rote knowledge, this is a collection of carefully curated, interpretive accounts from an international roster of scholars and practitioners. The Routledge Companion to Contemporary European Theatre and Performance gives undergraduate and graduate students as well as researchers and practitioners an indispensable reference resource that can be used broadly across curricula.

This book is the first collection of research in English devoted to interpretations of Shakespeare’s works in all three Baltic countries, using historical, structural and comparative analysis. The purpose of this edited collection, written by leading Shakespeare researchers in the Baltics, is to introduce international readers to the unique experience of Baltic theatre, to analyse the importance of Shakespeare’s appropriation during the process of development of Baltic national culture, and to highlight the key tendencies and personalities involved in this process. This book will provide rich informative and analytical material for students, teachers, lecturers and researchers of Shakespeare, as well as theatre theoreticians and practitioners.