The open page

Here are some of the articles, the rest are coming soon.

• Foreword
• Editorial
• La Carta, Patricia Ariza (Colombia)
• Masha writes to Vershinin, Lena Simic ( Croatia/Britian)
• Special ink for letters, Mirella Schino (Italy)
• Giacinta Pezzana off stage, Laura Mariani (italy)
• Please don't burn those letters, Maggie Gale (Britian)
• Post from Peru
• Abstractions of reality, Rosa Casado and Cynthia Troup (Spain and Australia)
• Foot drum girl, Jia-Wen chen and Wen-Tsui Wu (Taiwan)
• Fiction and concession, Marisa Naspolini (Brazil)
• To Maria Canepa, Julia Varley (Britain/Denmark)
• Wings, Ya-Ling Peng (Taiwan)
• Paper lives, Gilly Adams (Wales)
• Amsterdam, Patricia Ariza (Colombia)
• Post from Cuba
• To women with big eyes
• Dear Friends, Jill Greenhalgh (Wales)
• In search of masters, Parvathy Baul (India)
• Post from Brazil
• East and West, Guzin Yamaner (Turkey)
• Working hands, Geddy Aniksdal (Norway)
• Outlook and the bobe, Ana Woolf (Argentina/Denmark)
• Los Poetas, Patricia Ariza (Colombia)
• Open News
• In memory of Cristina

• Foreword
• Editorial
• Everything has a sound, Geddy Aniksdal (Norway)
• First, Meg Brookes (Wales)
• Hidden in the blood, Roxana Pineda (Cuba)
• Silent, Anette Röde (Sweden/Norway)
• Just like home, Yamile Lanchas (Colombia/Spain)
• My mother's song, Bianca Mastrominico - Pina Cipriani (Italy)
• Through the cracks, Helen Chadwick (Britain)
• Journeys of song and silences, Julia Varley (Britain/Denmark)
• Corals, Rossella Viti (Italy) 
• A universtandable song, Natascha Nikeprelevic (Germany)
• Broken chords, Charlotte Vincent (Britain)
• Perseverance, Carmen Romero - Carmen G. Bandera (Spain)
• Language, words and dramaturgy, Raquel Carrió (Cuba)
• The permanent live link, Gaia Varon (Italy)
• Sirens and tuneful weeping, Julie Robson (Australia)
• The voices of the earth, Beatriz Camargo (Colombia)
• Uncharted territories, Daniela Debald (Germany)
• In memory: Sally Rodwell, Madeline McNamara (Aotearoa New Zealand)

• Foreword
• Editorial
• Concentrated mindlessness, Gilla Cremer (Germany)
• This imaginary woman, Fern Smith (Britain)
• Hunter and hunted: a haunting, Deborah Hunt (New Zealand/Puerto Rico)
• Art that cuts deep, Oksana Haiko (Byelorussia)
• Practising proximity, Jill Greenhalgh (Britain)
• Musical eccentrics, Leo Sykes (Britain/Brazil)
• Ester's book, Iben Nagel Rasmussen (Denmark)
• She stands still, Tasha Faye Evans (Canada)
• Enobling Nonna - enabling Maria, Maria Porter (USA)
• One white rose, Tiziana Barbiero (Italy)
• Song notes, Helen Chadwick (Britain)
• Making the text, Anne-Sophie Erichsen (Norway)
• Devising with distance, Helen Varley Jamieson (Aotearoa New Zealand)
• Alternative dramaturgy, Kaite O’Reilly (Britain) 
• Plastic storks, panoramas and poliphony, Kirsten Delholm (Denmark)
• An everyday privilege, Lena Simic (Croatia/Britain)
• Intuitive methods and provocative questions, Cristina Galbiati & Ledwina Costantini (Italy/Switzerland Switzerland)
• Stuttering birds, Charlotte Nightingale (Britain)
• Practice of loving, Emma Dante (Italy)
• Never let go, Guzin Yamaner (Turkey)
• The sea is not always transparent, Cristina Castrillo (Argentina/Switzerland)
• Borders, constrictions and limits, Ana Woolf (Argentina/France)
• Making visible, Raphaëlle Doyon (France) & Claire Heggen (France)
• Teaching space, Ruth Quinn (Britain)
• Double edge theatre, Susanne Schaub (Austria/USA)
• The power of the drum, Rita Superbi (Italy)
• Dore Hoyer, Susana Zimmermann (Argentina)
• Thinking Dance - Dancing Thought, Tess de Quincey (New Zealand/Australia)
• To Keep Darkness at Bay, Geddy Aniksdal (Norway)
• Poems, Patricia Ariza (Colombia)
• Is it Theatre? Annet Hanneman (The Netherlands/Italy )
• The Sea, Julia Varley (Britain/Denmark)
• A thousand miles apart, Margaret Ames (Wales)
• Turning the tables around, Ya Ling Peng (Taiwan)
• Open news

• Foreword
• Editorial
• Poems, Patricia Ariza (Colombia)
• Speaking stones, Robert Secchi and Viviana Fortunato (Italy)
• Strength from separation, Dijana Milosevic (Serbia and Montenegro)
• A moving body, a growing mind, Ginevra Sanguigno (Italy)
• Ready to drink in every word, Graciela Ferrari and Maria Escudero (Argentina)
• The parade, Malin Bratlie (Norway)
• A necklace, Jill Greenhalgh (Britain)
• Hardness of stone, Ermanna Montanari (Italy)
• Marta's gesture, Beatrice Monroy (Italy)
• Theatre of a differance, Aja Marneweck (South Africa)
• More or less 300, Maria Sanchez (Mexico)
• A eye on the future, Karolina Spaic (Serbia/The Netherlands)
• Ina - stone by stone, Josefina Baez and Veroncia Moraga (Dominican Republic/USA and Chile)
• Performing words, Gilly Adams (Britain)
• Heart to heart, Elisa Todd (Venezuela/Brazil)
• Acts of writing and rebellion, Raquel Carrio (Cuba)
• Paco Pena, Margaret Cameron (Australia)
• Wasteland, Laura Martin and Laura Torres (Argentina)
• Godiva rides to America, Carran Waterfield (Britain)
• From circus to stillness, Nathalie Mentha (Switzerland/Italy)
• Mapping the way, Maria Luisa de Zela (Peru)
• Women's voices in Hong Kong, Janice Poon (Hong Kong)
• Touching the telephone pole, Elsa Kvamme (Norway)
• Seductive sounds, Julie Robson (Australia)
• Seven blank notebooks, Julia Varley (Britain/Denmark)
• Group territory, Teatro Tascabile di Bergamo (Italy)
• Milestone women, Maggie Gale (Britian)
• Time to celebrate, Geddy Aniksdal (Norway)
• Open letters
• Our Milestone, Diana Raznovich (Argentina/Spain)
• Open news
• In memory: Venice Manley, Helen Chadwick (Britain) 

• Foreword
• Editorial
• Open quotes
• Absence and evidence, Maggie Gale (Britain)
• Beyond the killing fields, Em Theay (Cambodia)
• Pioneering women in mexican theatre, Estela Lenero Franco (Mexico)
• I am ready, Franca Rame (Italy)
• Resistance, Anne Bogart (USA)
• Masha, Beatrice Picon-Vallin and Janne Risum (France and Denmark)
• Against a brick wall, Adelina Ong (Singapore)
• A presence in the streets, Lali Armengol Argemi (Venezuela)
• The eye of the beholder, Nora Amin (Egypt)
• Out of the blue, Joanna Sherman and Christina Gelsone (USA)
• The path of resistance, Roxana Pineda (Cuba)
• The dance of the polar bears, Ulla Ryum (Denmark)
• A Wordy warfare, Jill Greenhalgh (Britain)
• What Gulliver walks here?, Margaret Cameron (Australia)
• Ironed sheets, Julia Varley (Britain/Denmark)
• Looking for the antidote, Ana Woolf (Argentina)
• My priviledge, Geddy Aniksdal (Norway)
• The heroin(e), Dawn Albinger (Australia)
• Arts and money, Kathrine Winkelhorn (Denmark)
• The world pf appearances, Iami Reboucas Freire (Brazil)
• Stages of life - life on stage, Margarita Borja (Spain)
• Disappearing in theatre, Maysa Zaky (Egypt)
• Breaking the mirror, Beatriz Camargo (Colombia)
• Falling among the nettles, Pam Woods (Britain)
• Constructive constrictions, Rebeca Ralli (Peru)
• People who meet and love, Angelika Goken (Germany)
• Open letters
• Open news 

• Foreword
• Editorial
• Open quotes
• Chasing Arlecchino, Claudia Contin (Italy)
• Lady Macbeth's weapon, Han Tae-Sook (Korea)
• The sylphide of the century, Sorella Englund (Finland/Denmark)
• Not beautiful, Alice Ivanova (Russia)
• Tomoe, Rebecca Ogamo Teele (USA/Japan)
• My orchestra, Guandaline Sagliocco (France/Norway)
• A handful of characters, Roberta Carreri (Italy/Denmark)
• Bianca and Judy, Bianca Mastrominico (Itay/Britain)
• The story of the mummy bride, Maria Manty (Finland/Denmark)
• The recipe, Silvia Pritz (Argentina)
• The line on which life dances, Sandra Pasini (Italy/Denmark)
• Dancing with darkness, Sanja Krsmanovic Tasic (Yugoslavia)
• The hero disguised as a servant, Ni Nyoman Candri (Bali)
• An actor's shadow, Birute Mar (Lithuania)
• Giacinta plays Therese, Laura Mariani (Italy)
• Turning tables, Madeline McNamara (Aotearoa New Zealand)
• Personal geography, Maria Ibarreta (Argentina)
• More questions than answers, Eva Maria Gauss (Germany)
• Avatars in cyberspace, Frock (ass. by Helen Jamieson) (Aotearoa New Zealand)
• My mother is irresistible, Anne-Sophie Erichsen (Norway)
• Dramatis personae, Roxana Avila (Costa Rica)
• Poetry has a melody, Raysa Fatima Taba'mrante (Morocco)
• Not real, but true, Heidi Hovland (Norway)
• A gift passing between us, Laylage Courie (USA)
• Deep down, Geddy Aniksdal (Norway)
• Rivers in the dark night, Ya-Ling Peng (Taiwan)
• A letter, Anabela Teixeira (Portugal)
• On not noticing an earthquake, Susan Bassnett (Britain)
• Women in red, Jill Greenhalgh (Britain)
• Vive les celibataires!, Hasna el Becharia (Algeria/France)
• A among the people, Maria Ficara (italy)
• Chronicles - a lamentation, Anna Zubrzycki (Poland)
• More or less real people, Julia Varley (Britain/Denmark)
• Open News
• In memory: Joan Maud Littlewood, Maggie Gale (Britain)

• Foreword
• Editorial
• A road in my mind, Iben Nagel Rasmussen (Denmark)
• Walking to Avignon, Neusa Thomasi (Brazil/France)
• From the crossroads of Istanbul, Ayla Algan (Turkey)
• Etchings in the sand, Ananya Chatterjea (India/USA)
• Words from exile, Cora Herrendorf (Argentina/Italy)
• Destination India, Ileana Citaristi (Italy/India)
• Easy rider, Kerensa Johnston (Australia/Bali)
• Foreign landscapes, Cristina Wistari (Italy/Bali)
• The invocation of lost places, Hala Nassar (Palestine/USA)
• At the fajr festival in Tehran, Nehad Selaiha (Egypt)
• Nefertari under cover, Julia Varley (Britain/Denmark)
• Tradition and I, Touria Hadraoui (Morocco)
• Resting injured feet, Nasrin Pourhosseini (Iran/France)
• A universal language, Sonia M'barek (Tunisia)
• Pages from my notebooks, Helen Chadwick (Britain)
• Woman, Mapuche, Artist, Luisa Calcumil (Argentina)
• Myth of the spider-woman, Petra Lindblom (Sweden)
• Running for life, Savannah Walling (USA/Canada)
• No other option, Beatriz Seibel (Argentina)
• Wandering knight of love, Guillermina Willet (Brazil)
• Let's go!, Ginevra Sanguigno (Italy)
• Take advantage of the tide, Yamile Lanchas (Colombia)
• From my diary, Leo Sykes (Britain/Brazil)
• The inaccessible mountain, Clelia Falletti (Italy)
• Cross country, Gedy Aniksdal (Norway)
• Medea in the desert, Laylage Courie (USA)
• Sea breeze, Liza Magtoto (The Philippines)
• At the feet of the Himalayas, Marianne Blichfeldt (Denmark)
• Roads, wheels, roundabouts, Sally Rodwell (Aotearoa New Zealand)
• Orienteering
• On my way, Miff Moore
• Away from it all, Monica Borg Fure (Starts halfway down page)
• The eyes of an old woman, Sara Serrano Lopez
• The fishing trip, Susanne Christensen
• What is snow like?, Verena Tay
• Being in Transit
• Open letters - open news
• Flying to Siberia, Susan Bassnett

• Foreword
• Editorial
• Poems, Leah Thorn (Britain)
• Yes, Geddy Aniksdal (Norway)
• Lonely voice, Ursula Cetinski (Solvenia)
• Invisible score, Birgitte Cirla (France)
• Memoirs of a journey, Teresa Ludovico (Italy)
• Childhood texts, Pei Yanling (China)
• Talking to myself, Jane Buckler (Britain)
• Coming home, Gabriela Bianco (Argentina)
• Voice of silence, Susana Freire (Argentina)
• Nomadic voices, Fadimata Walett Ouman (Touareg)
• From paper and ink to pixels and links, Helen Jamieson (New Zealand)
• Journey into criticism, Vivian Martinez Tabares (Cuba)
• Words of bone and muscle, Carlotta Ikeda (Japan)
• Androgynous playwriting, Elena Guiochins (Mexico)
• Poetry on stage, Pilar Restrepo (Colombia)
• The servant's story, Maringsih, Sarniani & Wistari (Bali)
• House of text, Helen Chadwick (Britain)
• Wrestling with words, Lena Ekhem (Sweden)
• Dialect as discipline, Ermanna Montanari (italy)
• A fierce silence, Jacky Lansley (Britain)
• Words as movement, Jette Bastian (Denmark)
• Ants in a carpet of clouds, Julia Varley (Britain/Denmark)
• What text next?, Maggie Gale (Britain)
• Poems, Liz Letizia and Leah Thorn (Italy and Britain)
• Notes on theatre practice
• Written on the body, Sophia New (Britain)
• Glass beads, Lilicherie McGregor (Aotearoa New Zealand) (Starts halfway down page)
• Playing Dreamtime, Susanne Vill (Germany)
• Vanishing writing, Nor Hall (USA)
• Burn Gloom, Elaine Avila (Canada) (Starts at bottom of page)
• Space for memory, Ana Woolf (Argentina)
• Poems, Susan Bassnett (Britain)
• Open letters - Open news
• In Memory: Jolanda Rodio, Geddy Aniksdal (Norway)

• Foreword
• Editorial
• That's not it!, Gilly Adams (Wales)
• Stories from Silence, Maria Pia Battaglia (Italy)
• A spys cover, Elizabeth Montagu (Britain)
• Three Views, Verena Tay (Singapore)
• The wonderland of Butoh, Netta Plotzki (Israel)
• Memories find their way, Elizabeth M. Mongoma (Zimbabwe/Denmark)
• Dazed and confused, Gemma Moses (Wales)
• Tigers on a tightrope, Joanna Sherman (USA)
• The arch of time, Graciela Ferrari (Argentina)
• Trying to be born, Leo Sykes (Britain/Brazil)
• Questions of time, Julia Varley (Britain/Denmark)
• My work on myself as a pedagogue, Magdalena Pietruska (Poland/Sweden)
• Learning from teaching, Roberta Carreri (Italy/Denmark)
• Sweet pain, Geddy Aniksdal (Norway)
• Stray dogs, Cristina Castrillo (Argentina/Switzerland)
• Who is to blame?, Ely Schulz (Chile)
• Keeping an ancient tradition alive, Ni Wayan Sudi (Bali)
• Questioning the invisible, Karolina Spaic (Yugoslavia/The Netherlands)
• Te Kore, Lilicherie McGregor (New Zealand)
• Yuyachkani, a group experience, Ana Correa (Peru)
• Within the walls of our theatre, Anne-Sophie Erichsen (Denmark/Norway)
• The little sister, Dulcinea Langfelder (USA/Canada)
• Without generation?, Nara Mansur (Cuba)
• Generations of smiles and laughter, Christel Weiler (Germany)
• To know and know nothing at all, Roxana Avila (Costa Rica)
• Filling an empty theatre - Panacéia, M. Ficara - A. de Oliveira (Italy and Brazil)
• Mothers and daughters
• First steps, A. Golaj - A. Aniksdal - M. Erichsen (Poland and Norway)
• Right now!, Line and Guro Anna Wyller (Norway)
• Looking for the Tallyman, Carran and Mary Waterfield (Britain)
• A family heritage, Mik Ok Park and Kim Dae Rye (South Korea)
• Generations, Sue Gill and Hannah Fox (Britain)
• The secret we have in common, Sandra Pasini (Italy/Denmark)
• Open letters
• Open news

• Foreword
• Editorial
• Open quotes
• Travel trespass return: From the shores of poetry, Patricia Ariza
• Dance to play kabuki: A classical Japanese dancer expands her horizons, Sae Nanaogi
• The snarling spectator: Performing in a forbidden landscape, Gisela Cremer
• A postmodern performer prepares: Subjectivity, cyborg, technology and performance, Nancy Reilly-McVittie
• Do miracles happen? The consequences of total involvement, Else Marie Laukvik
• Off with her head! Reflections at the crossroads, Jill Greenhalgh
• The play is the thing ... The thing is to play, Rosa Luisa Marquez
• The dance is out of Klingsors tower: A fairytale from the North, Marika Lagercrantz
• Trick or treat: Indigenous voices from Aotearoa, T.I. Nepia, P. Moore, B. Grace-Smith, K. Kawana
• A voice for the voiceless: Theatre in times of dictatorship, Maria Canepa
• Trespassing in a transcendental way: Opening the doors of other spaces, Kirsten Dehlholm
• When the Body Becomes the Stage - death, dwarves and doubles, Anne-Britt Gran 
• Survival and Recognition - leaving stupid questions behind, Brigitte Cirla 
• Being a girl and running home: A calling to theatre, Carran Waterfield
• The borders of war: Images from four African women, I. Ouhe, R. Mukinisia, Y. Mukagasana, F. Uwera
• Body text - theatre language: Towards a "corporal" dramaturgy,Barbro Rønning
• An opened door: theatre with women in a state of emergency, Francesca Mazza
• Memory pictures: Scenes from a working life, Anette Røde Hagnell
• Beauty behind a mask: Women dancing Topeng in Bali, Ni Wayan Sekariani and Cristina Wistari
• Belonging to a country of colitude: A Argentine called Magdalena, Ana Woolf
• Hey, Babe, Take a walk on the wild side ... :A double foreigner, Geddy Aniksdal
• Compression response trilogy: to dance a city, Tess de Quincey
• Art has no loyalties: Searching for freedom in a free country, Mia Tornqvist
• The power of vulnerability: An actor's self-esteem, Julia Varley
• Open letters, open news

• Coming soon

• Coming soon

• Coming soon