Opening Words |\u00a0Mots d\u2019ouverture<\/a> Editorial<\/a> Towards a history of professional theatrical commentary<\/a> Criticism: The origins Indian critics and the Natyashastra Theatre criticism in Hungary Critics under review A Proust questionnaire for Eric Bentley Nor\u00e9n’s diary gives critics a lesson or two Jos\u00e9 Maria Vieira Mendes (Portugal)<\/a>,\u00a0Interviewed by Rita Martins<\/p>\n Yun-Taek Lee (South Korea)<\/a>,\u00a0Interviewed by Bangock Kim<\/p>\n Marta Carreiras (Portugal)<\/a>,\u00a0Interviewed by Rita Martins<\/p>\n Portuguese perplexities, contradictions and a fierce debate Ionesco translated by Octavio Paz Acting before and after Grotowski: Presence \/ Non-presence Working with Grotowski and After Grotowski in the 21st century: Teatr Pie\u015b\u0144 Koz\u0142a (Song of the\u00a0Goat Theatre), Wroc\u0142aw, Poland Playing seriously with Augusto Boal (1931-2009) Philosophie et nouveau th\u00e9\u00e2tre Disturbing silence (and outcries) over memories of a colonial war (1961-1974) Domestic silences exposed: Learner Husband (Cape Town) Lorsque le Qu\u00e9bec et la Martinique se croisent : Le collier d\u2019 H\u00e9l\u00e8ne Le\u00e7on magistrale d’\u00e9criture sc\u00e9nique: Le gar\u00e7on du dernier rang Le plaisir de jouer avec virtuosit\u00e9: Leichtes Spiel: Neun Personen einer Frau \u201cWar\u201d over The Persians Images and a popular emotionalism: Peer Gynt Noah\u2019s Ark, directed by Janusz Estorino dreams of another American Medea The History of Criticism: English A Brief History of Theatre Commentaries in Japan: Its Beginning and Its Modernization A History of Theatre Commentary in Korea Table of Contents Opening Words |\u00a0Mots d\u2019ouverture Yun-Cheol Kim Editorial Maria Helena Ser\u00f4dio Theatrical Commentary |\u00a0Commentaire th\u00e9\u00e2tral Towards a history of professional theatrical commentary Don Rubin Criticism: The origins Ian Herbert Indian critics and the Natyashastra Ravi Chaturvedi Theatre criticism<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-2","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P7d79A-2","_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/1\/wp-json\/wp\/v2\/pages\/2","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/1\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/1\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/1\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/1\/wp-json\/wp\/v2\/comments?post=2"}],"version-history":[{"count":1,"href":"https:\/\/www.critical-stages.org\/1\/wp-json\/wp\/v2\/pages\/2\/revisions"}],"predecessor-version":[{"id":600,"href":"https:\/\/www.critical-stages.org\/1\/wp-json\/wp\/v2\/pages\/2\/revisions\/600"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/1\/wp-json\/wp\/v2\/media?parent=2"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nYun-Cheol Kim<\/p>\n
\nMaria Helena Ser\u00f4dio<\/p>\n
\nTheatrical Commentary |\u00a0Commentaire th\u00e9\u00e2tral<\/a><\/span><\/h5>\n
\nDon Rubin<\/p>\n
\n<\/a>Ian Herbert
\n<\/a><\/p>\n
\n<\/a>Ravi Chaturvedi
\n<\/a><\/p>\n
\n<\/a>Peter Szaffko
\n<\/a><\/p>\n
\n<\/a>Michael Handelzalts
\n<\/a><\/p>\n
\nEric Bentley Before and After the IATC Thalia Prize |<\/a><\/span>
\nEric Bentley avant et apr\u00e8s le Prix Thalie de l\u2019AICT<\/span><\/h5>\n
\n<\/a>Randy Gener
\n<\/a><\/p>\n
\nReading a Playwright\u2019s Diary |\u00a0Lire le journal d\u2019un dramaturge<\/span><\/h5>\n
\n<\/a>Matti Linnavuori
\n<\/a><\/p>\n
\nA Patchwork of Theatre Views |\u00a0Patchwork de visions du th\u00e9\u00e2tre<\/a><\/span><\/h5>\n
\nThe Theatre of Ionesco: Revelations and Reactions |<\/span>
\nLe th\u00e9\u00e2tre d\u2019Ionesco: r\u00e9v\u00e9lations et r\u00e9actions<\/span><\/h5>\n
\n<\/a>Sebastiana Fadda
\n<\/a><\/p>\n
\n<\/a>Rodolfo Obreg\u00f3n
\n<\/a><\/p>\n
\nReclaiming the Legacy of Jerzy Grotowski |<\/span>
\nR\u00e9clamation de l\u2019h\u00e9ritage de Jerzy Grotowski<\/span><\/h5>\n
\n<\/a>Tomasz Milkowski
\n<\/a><\/p>\n
\n<\/a>Maja Komorowska
\n<\/a><\/p>\n
\n<\/a>Mark Brown
\n<\/a><\/p>\n
\nSpreading (In)visible Theatre with Augusto Boal |<\/span>
\nR\u00e9pandre le th\u00e9\u00e2tre (in)visible avec Augusto Boal<\/span><\/h5>\n
\n<\/a>Veronika Baxter
\n<\/a><\/p>\n
\nThe Irresistible Meeting Point for Theatre |<\/span>
\nPoint de rencontre irr\u00e9sistible pour le th\u00e9\u00e2tre<\/span><\/h5>\n
\n<\/a>Patrice Pavis<\/p>\n
\nDisturbing silence (and outcries) over memories of a colonial war (1961-1974)<\/span><\/h5>\n
\n<\/a>Maria Helena Ser\u00f4dio
\n<\/a><\/p>\n
\nThe Critics Review the Shows |\u00a0Analyses de spectacles par des critiques<\/a><\/span><\/h5>\n
\n<\/a>Robert Greig
\n<\/a><\/p>\n
\n<\/a>Alvina Ruprecht
\n<\/a><\/p>\n
\n<\/a>Ir\u00e8ne Sadowska
\n<\/a><\/p>\n
\n<\/a>Patrice Pavis
\n<\/a><\/p>\n
\n<\/a>Savas Patsalidis
\n<\/a><\/p>\n
\n<\/a>Kwon Kyoung-Hee
\n<\/a><\/p>\n
\n<\/a><\/em>Tomasz Milkowski
\n<\/a><\/em><\/p>\n
\n<\/a>Vivian Martinez
\n<\/a><\/p>\n
\nProfessing Theatre Criticism |\u00a0Profession: critique de th\u00e9\u00e2tre<\/a><\/span><\/h5>\n
\n<\/a>John Elsom
\n<\/a><\/p>\n
\n<\/a>Manabu Noda
\n<\/a><\/p>\n
\n<\/a>Yun-Cheol Kim
\n<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"