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The IATC webjournal/Revue web de l'AICT – December 2011: Issue No 5

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Special Topics

Yury Lyubimov in Interview with Maria Shevtsova, 15 April 2011, St Petersburg.

Yury Lyubimov in Interview with Maria Shevtsova, 15 April 2011, St Petersburg.

Edited and translated from Russian by Maria Shevtsova[1] Maria Shevtsova: You have had a rich life. What do you see as being the happiest period of creative work in this life? Yury Lyubimov[2] : [long pause] I am deep in

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Through the Eyes of the Other: The Many Faces of Japan’s Chong Wishing/ Jung Euishin/Chong Wishin

Through the Eyes of the Other: The Many Faces of Japan’s Chong Wishing/ Jung Euishin/Chong Wishin

Interviewed by Manabu Noda[1] In a world that is becoming ever more multi-cultural, the voice of the Other, the whole notion of what is referred to as Alterity, becomes an important part of culture generally and an important aspect of

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Michael Chekhov : Teaching (Acting) in a Foreign Land

Michael Chekhov : Teaching (Acting) in a Foreign Land

Liisa Byckling[1] Born in St.Petersburg in 1891, Michael Aleksandrovich Chekhov died 64 years later in the United States (1955 in Los Angeles). A nephew of the playwright Anton Chekhov and a member of the Moscow Art Theatre’s First Studio where

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John Florio: The Case for Shakespeare as Exile

John Florio: The Case for Shakespeare as Exile

Lamberto Tassinari[1] Two subjects come up over and over again in the works of Shakespeare: exile and Italy. Given all the recent debate about who actually wrote Shakespeare’s plays, Lamberto Tassinari’s recent book, John Florio: The Man Who Was Shakespeare,

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Looking Back to Greece: Exiles in the Ancient World

Looking Back to Greece: Exiles in the Ancient World

Savas Patsalidis[1] To be forced to leave the city-state (the home) and be exposed without the protection of government (laws), friends and family, was seen in ancient Greece as a fate worse than death. In the following essay, Greek theatre

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Theatre in Exile: Defining the Field as Performing Odyssey

Theatre in Exile:  Defining the Field as Performing Odyssey

Yana Meerzon[1] Exile as pain. Exile as difference. Exile as performative adventure. In the following article, excerpted from her upcoming book, Performing Exile — Performing Self: Drama, Theatre, Film (Palgrave Macmillan, 2012), Russian-born and now Canadian-based theatre scholar Yana Meerzon

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