Appa, a veteran theatre actor who has primarily worked in adaptations of Shakespeare's plays, falls upon hard times in his old age.

Victor Derval is returning home after a performance when he is hailed by Lisa, a young Hungarian woman. Her motives are mysterious; is she simply a star-struck peasant girl, or an ambitious, manipulative aspiring star?

The elderly Arnolphe has decided to marry a young woman, Agnes, whom he has fallen in love with. She is too young and innocent to realize what plans he has for her. But Agnes and Arnolphe's young friend, the dandy Horace, have fallen in love with each other. Their love is a threat to Arnolphe's attempt at getting married. Can the cunning Arnolphe stop them?

Le Temps des cerises is a sentimental comedy, full of charm, on the life of two beings whom everything opposes, but which chance brings together. He is a painter and out of inspiration. She is young, pretty, full of life, not very sure of herself. They have nothing in common except their humor, their charm, their need to create and their passion for painting. They will live a few days together and both will emerge transformed from this parenthesis.

Recording of the play 1789, a collective creation by Théâtre du Soleil at La Cartoucherie de Vincennes in 1970, edited from several shows.

In a specialized, hermetic drama about love won and lost, not necessarily by the same individuals, novice director Christine Laurent has focused on the backstage melodramas of an opera company. The conductor for an upcoming performance of the Marriage of Figaro has his mind and heart on other matters -- an entrancing diva who keeps him enraptured with her presence and voice. In the meantime, he finds fault with his cast members who cannot, of course, measure up to the woman of his dreams. As singers encounter one problem or another, it is clear that something has to be done about the conductor. Director Laurent designed costumes for both theater and opera, giving her some insight into the venue.

An aspiring actress, whose sugar-coated appearance belies her ruthless drive, worms herself into the life of an aging star and schemes to replace her on the stage as the star of a new play.

Small-town Pennsylvania schoolteacher Linda Sinclair balances her staid home life with an incredible passion for her subject. Then a former star pupil reenters her life after failing as a playwright in New York City. Seeing in his script the inspiration that she has always longed to instill in her students, this dyed-in-the-wool romantic enlists the help of long-suffering drama teacher Carl to mount the work as the high school’s next and riskiest production.

The film was shot as the final part of the play "Drink the sea, Xanthos" theatre-Studio "NEO" (St. Petersburg 1987-1989). As a result, the performance was changed and the film gained independence. He became an allegory of acting.

Rosario and Carlos, husbands, are part of a theater company. In a scene of jealousy, she should shoot and kill him. Carlos has had an affair with Zulma, another acriz of the company. On opening day, in the final scene, Rosario accidentally kills her husband. Someone change the gun ...

Erik, in love with Magda, the fiancée of Georg, his boss, secretly sends her roses every night.

How do we fall in love? While rehearsing the love scene between Romeo and Juliette, Cécile, Thomas and Jérémie, barely twenty years old, each bring, in their own way, an answer to this question.

Show girl Jill Deverne is married to song writer Fred Deverne, and everyone is involved in the Broadway night life and endless parties. Jill is being pursued by a gangster, and she leaves her husband after he spends the night with a floozie. Jill ends up as the gangster's moll, but she soon gets tired of the lifestyle.

Everyman is successful, popular and riding high when Death comes calling. He is forced to abandon the life he has built and embark on a last, frantic search to recruit a friend, anyone, to speak in his defence. But Death is close behind, and time is running out. One of the great primal, spiritual myths, Everyman asks whether it is only in death that we can understand our lives. A cornerstone of English drama since the 15th century, it now explodes onto the stage in a startling production with words by Carol Ann Duffy, Poet Laureate, and movement by Javier De Frutos.

Escorted by his valet Sganarelle, Dom Juan, a libertine gentleman, brave and hypocritical, seduces women, fights duels, denies his father's authority, and mocks Heaven. Carried away by his passion for women and gambling, he goes so far as to commit perjury. A classic revisited by Mesguich with a lot of visual effects: special effects, magic tricks, imposing sets. A playful staging for this tragi-comic play.

A new version for younger audiences by Bijan Sheibani and Ben Power. Originally staged as part of the National Theatre’s Shakespeare for younger audiences programme. This archival recording was captured in 2017. This contemporary production sees a company of eight tell the most famous love story of all time, set against a vivid urban backdrop bursting with excitement, colour, dance and song. A swift, contemporary celebration of Shakespeare’s masterpiece, Bijan Sheibani’s thrilling production brings Romeo and Juliet to life for a new generation.

Telephone operator Peggy, puts on an act with Matt Wilde at a Bowery amateur night and is seen by Billy Laidlaw, who becomes convinced of her talents. Billy subsequently arranges for the Broadway debut of the act and falls in love with Peggy, who wholeheartedly returns his affection. When the World War breaks out, Billy remains unconcerned until his younger brother is killed in action. Billy then immediately enlists and is sent to France; Peggy joins the Red Cross to be with him, and Grace Laidlaw, Billy's wife, also goes to France, working with the Y. M. C. A. Billy is assigned to destroy an ammunition dump, and Peggy learns, after he has left on the mission, that he has been recalled.

Andy Warhol's experimental reconstruction of the assassination of the President of the United States, John F. Kennedy, which serves as his critical commentary on the way the media presented the tragic event.

The local theater in Armstadt has to take a step back; the budget gets cut due to less audience. However, the actors try their best to prepare for a new piece.