In the next weekend, March 6th-8th, the representatives of culture, art and shamanism coming from the Tuva Republic of Russia will be our guests. The programme of the Tuva Days is abound with various cultural events: performances of the Tuvan theatre of dance and fashion “Edegej”, concerts of the world famous Tuvan throat-singing group “Chirgilchin”, throat-singing workshops, art workshops (creative workshops with the use of birchwood's bark and a mineral called Agalmatolit),

There are several theatrical traditions in Peru, which have at times conflicted with each other, and other times merged, which in recent times has resulted in provocative work that has received worldwide acclaim. Before conquest and colonization, and as with ancient Greece, theatre was religious ceremony, celebrating such deities as the sun god Inti in the festival of Inti Raymi, or Feast of the Sun. The ceremony coincided with winter solstice. Following the conquest, it was banned by the Catholic Church, which also incorporated many pagan elements into its own religious pageants.

ARCHA THEATRE is a centre for contemporary stage art, without regard to barriers of genre. ARCHA THEATRE acts as a production house, where contemporary art is created and presented. ARCHA THEATRE does not have a stable ensemble – its own performances are created as projects. ARCHA THEATRE is a place for international confrontation of stage art. ARCHA THEATRE is a place where different cultures meet. ARCHA THEATRE presents its own performances not only in the spaces of the theatre, but also elsewhere, for example in public spaces. ARCHA THEATRE places equal emphasis on the theatrical and social functions of the theatre.

In 1855, the enactment of the play Indrasabha (the Heavenly Court of Indra) written by Agha Hasan Amanat Ali in the courtyard of the last Nawab of Oudh, Wajid Ali Shah, marked the beginning of Urdu theatre. The drama dealt with the love story between a fairy and a prince. The Nawab, who was a Kathak dancer and had written theses on stage techniques, composed some of the songs and choreographed the dances for the play. It was a huge success. Its characters (Sabaz Pari (Green Fairy), Kala Deo (Black Devil) and Lal Deo (Red Devil)) live on as a part of the vocabulary of the South Asia.

The following article by Jerome P. Crabb published in 2006. The “Theatre of the Absurd” is a term coined by Hungarian-born critic Martin Esslin, who made it the title of his 1962 book on the subject. The term refers to a particular type of play which first became popular during the 1950s and 1960s and which presented on stage the philosophy articulated by French philosopher Albert Camus in his 1942 essay, The Myth of Sisyphus, in which he defines the human condition as basically meaningless. Camus argued that humanity had to resign itself to recognizing that a fully satisfying rational explanation of the universe was beyond its reach; in that sense, the world must ultimately be seen as absurd.

Continuo Theatre is an international professional theatre group led by director and artistic coordinator Pavel Štourač. The founding members of the group began to work together in 1990 at Theatre Academy for the Performing Arts in Prague. In the autumn of 1992 the group moved from Prague to southern Bohemia. One year later they gained professional status and took the name Continuo Theatre. Since 1995 they have worked out of the village of Malovice in a former farmstead that carries the name The Plum Courtyard. It isn't easy to describe the performances of Continuo Theatre definitively, whether they are fair theatre, street circus, or puppetry. Movement, music, puppets (from 10 cm hand puppets to larger than life figures), physical acting, circus and acrobatic techniques, as well as the techniques and styles of puppet theatre - all of these create the aesthetics of the individual productions, which arise out of the collective work of all of the participants.