amilton de azevedo writes about “Querelle de Roberval” (Canada), directed and adapted by Olivier Arteau from Kev Lambert’s romance, presented in the 2026 FTA.
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amilton de azevedo writes about “Sur tes traces”, by Gurshad Shaheman and Dany Boudreault, presented in the 2024 FTA (Montreal/Canada).
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amilton de azevedo writes about “Carte noire nommée désir”, by Rébecca Chaillon, presented in the 2024 Festival TransAmériques (FTA – Montreal).
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amilton de azevedo writes about “Eruption – The uprising is not over yet” (2022), by coletivA ocupação (São Paulo, Brazil). Originally posted in portuguese within the context of the archipelago project, with the support of Corpo Rastreado.
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amilton de azevedo writes about “Study nº 1: Death and Life” (2022), by Magiluth Group (Pernambuco, Brazil)
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critical review of “Borders” (“Grenzen”) by Cat Smits Company (Netherlands). work presented during the 10th International Festival of Puppetry Schools PUPPETNOPUPPET (LALKANIELALKA) in Bialystok, Poland, on June 2022. this text is written by amilton de azevedo within the context of the Puppet Theater Criticism Workshop offered by the International Association of Theater Critics (IATC).
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critical review of Biba Fish (Ryba Biba) by Teatr Fraktal (Poland). work presented during the 10th International Festival of Puppetry Schools PUPPETNOPUPPET (LALKANIELALKA) in Bialystok, Poland, on June 2022. this text is written by amilton de azevedo within the context of the Puppet Theater Criticism Workshop offered by the International Association of Theater Critics (AITC).
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