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I AM IN ALMOST COMPLETE AGREEMENT WITH John Lawton's discourse on 'Earth system science' (Editorial, 15 Jun., p. 1965). However, I was taken aback by the obvious lack of reference [...]

Immersive theatre, a performance style introduced by the company Punchdrunk first to London and subsequently to New York, has been one of the most popular new approaches to theatre staging in both cities in the new century. Although individual productions differ, immersive theatre in general encourages the audience to intermingle with the actors in a common space. This freedom of mobility has encouraged some theorists to hail this type of theatre as one that makes possible an actively engaged spectator, like that proposed by Ranciére, but this essay argues that such emancipation is basically an illusion, and that the control of the dramatic world remains almost totally in the hands of the producing organization. [ABSTRACT FROM AUTHOR]

The article discusses changes at the Deutsches Theatre in Berlin, Germany in 2009. Ulrich Khuon, the new artistic director, succeeded his mentor Bernd Wilms. The new director hired new company staff, directors and developed new productions such as Heinrich von Kleist's "Prinz Friedrich von Homburg," by Andreas Kriegenburg which opened in September, Bertolt Brecht's "Herr Puntila und sein Knecht Matti" originating in Hamburg and opening in October, directed by Michael Thalheimer.

The article highlights the 2009 Theatertreffen, which was held in Berlin, Germany in the first half of May 2009. The show featured ten theatrical productions, including two from Vienna, Austria, two from Switzerland, and one each from Hamburg, Munich, Cologne and Ruhr Triennale in Germany. The productions include Christoph Schlingensief's "Die Kirche der Angst vor dem Fremden in Mir" (The Church of the Dread of the Foreign Within Me).

The authors reflect on Azar Nafisi's novel "Reading Lolita in Tehran." They mention that the book was warmly welcomed by a Western market that longs for stories regarding the Islamic life and culture. They also comment on the cover of the book which they pointed as a confirmation of some of the well-known aspects of the Islam life. The theatrical and performative practices in the Islamic world are explored by the authors.

The article focuses on the productions from German-speaking countries in Europe which are to be presented in the May Theatertreffen in Berlin, Germany. It features some of the entries in the 2008 selection such as Stefan Pucher's version of "The Tempest," the "Die Erscheinungen der Martha Rubin," by Signa Sørensen and Arthur KÕstler, and Thomas Ostermeier's adaptation of the film "The Marriage of Maria Braun." Particular focus is also given to the productions in 2008 Theatertreffen that come from Zurich, Switzerland such as "No Space."

The author focuses on the evolving aesthetic in the theatrical productions created by Big Art Group and how this aesthetic opens itself to semiotic analysis. He notes that the techniques of improvisation, experimental structure and task-based choreography were seen in the firm's first two productions, "Clearcut Catastrophe" and "The Balladeer. The production "Shelf Life" is the first to use the company's Real-Time Film technique, which combines dance and theatre forms with filmic and televisual motifs.

An essay is presented on theatre and religion. It offers a history of this couple involved in one of the world's most lasting relationships and its history of complex negotiations as the two partners had to continually reformulate and reexamine the operations of the relationship as both changed in the passage of time. The author relates that the border between theatre and religion has been so porous that the two were almost indistinguishable.

The article states that the theater audiences in Berlin awaits the month of May for its spring Theatertreffen, which showcases the theatrical productions of the previous year from across Germany, Austria and Switzerland. Various productions including "Winter's Tale," by Robert Wilson, "Doll House," and "Hedda Gabler," both by Henrik Ibsen, are highlighted.

The article presents an interview with Portuguese dramatist Armando Nascimento Rosa about his works. Rosa describes his fascination with the play "Calderon," written by Pier Paolo Pasolini. Theater director João Mota encouraged him to write for young audiences. Rosa has also composed his own music for the play "Lianor in No-Battery Land."

The article highlights the Berlin Theatertreffen theater festival held in Germany in May 2005. The event offered nine productions selected as the best of the preceeding year by a distinguished jury of critics and reviewers. The main body of the festival began with Lutz Hübner's "Hotel Paraiso," directed by Barbara Bürk.

Presents an article on viewing two walk-through site-specific environmental theatrical productions, "Ghost Machine," by Janet Cardiff and Geroges Bures Miller and "Call Cutta," by Rimini Protokoll, presented in Germany. Features of the productions; Impact of the productions on the spectators; Response of the audience to the productions.

Reviews several theatrical productions presented in Dublin, Ireland. "Enlightenment," written by Shelagh Stephenson; "Improbable Frequency," written by Arthur Riordan and presented by Rough Magic; "The Home Place," written by Brian Friel.

Focuses on theatrical productions staged during the 2004 Theatertreffen theater festival in Berlin, Germany. Information on the production of the play "The Wild Duck," directed by Thomas Langhoff, at the Berliner Ensemble theater house; Description of stage setting of the play "The Maids," directed by Konstanze Lauterbach; Details of the staging of the play "Mysterium Buffo," directed by Sebastian Hartmann.

Focuses on theatrical productions presented at the 2004 Berlin Theatertreffen theater festival in Germany. Description of settings and costumes in the production "Uncle Vanya," directed by Barbara Frey; Information on the revival of the theatrical production "Danton's Death" by director Christoph Marthaler; Interpretation of the play "Summerfolk" by director J¨rgen Gosch, which was presented by the theater company D¨sseldorf Schauspielhaus.

Reviews several theatrical productions performed in Paris, France in March 2004. "The Wild Duck," directed by Patrick Haggig and performed; "The Ten Commandments," directed by Christoph Marthaler; "Ivanov," directed by Alain Françon.

Discusses three theatrical productions staged in Berlin, Germany in December 2003. "The Struggle of the Black Man and the Dog," by Bernard Koltès' "The Tempest," by William Shakespeare, presented by Leander Haussmann; "Das Käthchen von Heilbronn," by Heinrich von Kleist, presented by Nicolas Stemann.

Presents information on the musical "Follies" by Stephen Sondheim. Metaphorical role of "Follies" in the history of New York theater; Concept of age and aging as presented in the musical; Opinion of major musical reviewers on the story of "Follies."