{"id":349,"date":"2016-04-10T13:00:51","date_gmt":"2016-04-10T13:00:51","guid":{"rendered":"https:\/\/www.critical-stages.org\/10\/?page_id=349"},"modified":"2021-02-16T14:55:54","modified_gmt":"2021-02-16T14:55:54","slug":"contents","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/10\/","title":{"rendered":"Contents"},"content":{"rendered":"

Table of Contents<\/h1>\n

Editorial<\/a> | \u00c9ditorial<\/a>
\nYun-Cheol Kim (Korea)<\/p>\n

\n
Interviews: Theatre Practitioners on Criticism<\/span><\/a><\/h5>\n

Section Editor: Yun-Cheol Kim<\/strong><\/p>\n

Editorial Note<\/a>
\nYun-Cheol Kim (Korea)<\/p>\n

Give Advice! Be a Political Journalist! \u2501 Interview with Finnish dramaturge Juha-Pekka Hotinen<\/a>
\nMatti Linnavuori (Finland)<\/p>\n

New Media: An Energetic Virtual Conference? \u2501 Interview with Ellen Margolis, playwright, director; Chair of Theatre, Pacific University<\/a>
\nLissa Tyler Renaud (U.S.)<\/p>\n

Contributing to the Culture \u2501 Interview with Tony Taccone, Artistic Director, Berkeley Repertory Theatre; playwright<\/a>
\nLissa Tyler Renaud (U.S.)<\/p>\n

A la recherche du regard pluriel \u2501 Entretien avec Yannis Leontaris<\/a>
\nSavas Patsalidis (Gr\u00e8ce)<\/p>\n

Mats Ek: On Criticism \u2501 Interview with choreographer and director Mats Ek<\/a>
\nMargareta S\u00f6renson (Sweden)<\/p>\n

Our Critics are Confounded and Resigned \u2501 Interview with R\u00f3bert Alf\u00f6ldi, ex-director of the Hungarian National Theatre, actor, director<\/a>
\nJudit Cs\u00e1ki (Hungary)<\/p>\n

Interview with Jean Lambert-wild, director of Com\u00e9die de Caen<\/a>
\nYun-Cheol Kim (Korea)<\/p>\n

Interview with Jonathan Mills, director of Edinburgh International Festival<\/a>
\nYun-Cheol Kim (Korea)<\/p>\n

\u201cTheatre forms the core around which dialogue develops\u201d\u2014 Interview with Oriza Hirata<\/a>
\nManabu Noda (Japan)<\/p>\n

Quatre questions \u00e0 Robert Lepage sur la critique<\/a>
\nMichel Va\u00efs (Canada)<\/p>\n

\n
Special Topic: mise en sc\u00e8ne<\/a><\/span><\/h5>\n

Section Editor: Patrice Pavis<\/strong><\/p>\n

Dossier sur la mise en sc\u00e8ne<\/a>
\nPatrice Pavis (France)<\/p>\n

Mise en sc\u00e8ne et temps : La mise en sc\u00e8ne du temps de Jacques Lassalle<\/a>
\nManuel Garcia-Martinez (Spain)<\/p>\n

Arithm\u00e9tique th\u00e9\u00e2trale : l\u2019auteur et le metteur en sc\u00e8ne<\/a>
\nKonstantin Iliev (Bulgaria)<\/p>\n

Mise en sc\u00e8ne: Beckett\u2019s \u201cField of Memory\u201d<\/a>
\nMischa Twitchin (U.K.)<\/p>\n

Sur l\u2019impact de la vid\u00e9o dans les derni\u00e8res mises en sc\u00e8ne de Krystian Lupa. La question du screen test<\/a>
\nIzabella Pluta (France)<\/p>\n

Coming Up for Air: Director\u2019s Afterword<\/a>
\nLee Young-Seok (Korea)<\/p>\n

Dramaturgy and mise en sc\u00e8ne<\/a>
\nKatalin Trencs\u00e9nyi (Hungary)<\/p>\n

The Play of Regie: Some Notes on a New Theory of Regie, Prompted by Contemporary Directions in German \u201cDirectors\u2019 Theatre\u201d<\/a>
\nPeter M. Boenisch (Germany)<\/p>\n

R\u00e9flexions sur la mise en sc\u00e8ne contemporaine<\/a>
\nPatrice Pavis (France)<\/p>\n

\n
Essays<\/a><\/span><\/h5>\n

Section Editor: Ivan Medenica<\/strong><\/p>\n

Editorial : Le th\u00e9\u00e2tre francophone postcolonial<\/a>
\nIvan Medenica (Serbia)<\/p>\n

Quelques aspects n\u00e9ocolonialistes de la francophonie th\u00e9\u00e2trale<\/a>
\nIr\u00e8ne Sadowska-Guillon (France)<\/p>\n

L\u2019art de dealer avec le diable \u2013 Entretien avec Dieudonn\u00e9 Niangouna, artiste associ\u00e9 du Festival d\u2019Avignon 2013<\/a>
\nIr\u00e8ne Sadowska-Guillon (France)<\/p>\n

Manifestations francophones<\/a>
\nJean-Pierre Han (France)<\/p>\n

Th\u00e9\u00e2tre Cara\u00efbe \u2013 Le R\u00e9pertoire : Projet sur la dramaturgie postcoloniale de la Cara\u00efbe<\/a>
\nAlvina Ruprecht (Canada)<\/p>\n

Les tensions en jeu : les th\u00e9ories postcoloniales et le th\u00e9\u00e2tre qu\u00e9b\u00e9cois<\/a>
\nTanya D\u00e9ry-Obin (Canada)<\/p>\n

Un th\u00e9\u00e2tre sous haute tension<\/a>
\nGeorges Banu (Romania)<\/p>\n

\n
Conference Papers<\/a><\/span><\/h5>\n

Section Editor: Savas Patsalidis<\/strong><\/p>\n

Editorial Note: Reviewing in the Age of the New Empire<\/a>
\nSavas Patsalidis (Greece)<\/p>\n

The Critic Waves Goodbye to the Middle Class<\/a>
\nMatti Linnavuori (Finland)<\/p>\n

Reinventing Theater Criticism: An Intensification of the Possibility of Truth<\/a>
\nCristina Modreanu (Romania)<\/p>\n

\u201cAren\u2019t you even dead yet?\u201d \u2501 Theatre Criticism and Cultural Ownership<\/a>
\nManabu Noda (Japan)<\/p>\n

\n
Performance Reviews <\/a><\/span><\/h5>\n

Section Editor: Matti Linnavuori<\/strong><\/p>\n

Editorial Note: Theatre Follows Football<\/a>
\nMatti Linnavuori (Finland)<\/p>\n

Cet amour sacr\u00e9 du ballon rond<\/a>
\nIr\u00e8ne Sadowska-Guillon (France)<\/p>\n

Girlpower and Horsepower in German Theatre<\/a>
\nIsabella Rothberg (Finland)<\/p>\n

An Insight into the Transgender Community in India<\/a>
\nAjay Joshi (India)<\/p>\n

Georgian Unity in the Diversity of Show Forms<\/a>
\nMaria Z\u0103rnescu (Romania)<\/p>\n

L\u2019essor du th\u00e9\u00e2tre en Azerba\u00efdjan<\/a>
\nMichel Va\u00efs (Canada)<\/p>\n

A Sad Comedy, Dressed in White<\/a>
\nMaryam Alizade (Azerbaijan)<\/p>\n

Sofi Oksanen\u2019s Doves Take a Surprising Twist<\/a>
\nAnneli Saro (Estonia)<\/p>\n

After Us, the Deluge \/ Apr\u00e8s nous, le d\u00e9luge<\/a>
\nSoila Lehtonen (Finland)<\/p>\n

Guns and Rock\u2019n\u2019roll in Tehran<\/a>
\nMehrdad Rayani-Maksous (Iran)<\/p>\n

Crime, But Not Much Punishment in Bratislava<\/a>
\nIan Herbert (U.K.)<\/p>\n

An Elite Festival: National Companies Play their Classics<\/a>
\nLudmila Patlanjoglu (Romania)<\/p>\n

Swedish Word Games and Identity Dramas<\/a>
\nHalima Tahan Ferreyra (Argentina)<\/p>\n

Fear and Responsibility Eat Moscow<\/a>
\nChristine Matvienko (Russia)<\/p>\n

Eugene Onegin: An Ordinary Miracle<\/a>
\nEmiliya Dementsova (Russia)<\/p>\n

Contours of Losses in Sarajevo<\/a>
\nZala Dobov\u0161ek (Slovenia) and Matti Linnavuori (Finland)<\/p>\n

A Fitting Tribute to Joaquim Benite<\/a>
\nMark Brown (U.K.)<\/p>\n

Metteur en sc\u00e8ne et auteur, une confusion risqu\u00e9e<\/a>
\nSelim Lander (Martinique)<\/p>\n

Everything Old is New Again<\/a>
\nWendy Rosenfield (U.S.)<\/p>\n

\n
Book Reviews<\/a><\/span><\/h5>\n

Section Editor: Don Rubin<\/strong><\/p>\n

Refereeing the Muses: A Theater Criticism\/Arts Journalism Primer, By Bob Abelman and Cheryl Kushner, 271 pp. New York and Frankfurt: Peter Lang<\/a>
\nDon Rubin (Canada)<\/p>\n

Moli\u00e8re On Stage: What\u2019s So Funny?, By Robert W. Goldsby, 222 pp. New York and London: Anthem Press<\/a>
\nDavid Littlejohn (U.S.)<\/p>\n

Yevgeny Vakhtangov: A Critical Portrait, By Andrei Malaev-Babel, 278 pp. London and New York: Routledge<\/a>
\nNikolai Pesochinsky (Russia)<\/p>\n

Politiques du spectateur : Les enjeux du th\u00e9\u00e2tre politique aujourd\u2019hui, Par Olivier Neveux, 275 p. Paris : La D\u00e9couverte<\/a>
\nPhilippe Rouyer (France)<\/p>\n

Performing Exile, Performing Self, By Yana Meerzon, 350 pp. London: Palgrave Macmillan<\/a>
\nAlvina Ruprecht (Canada)<\/p>\n

Flucht nach vorne. Gesprochene Autobiografie und Materialien, by Andrzej Wirth, Spector Books Leipzig, 2013.<\/a>
\nPatrice Pavis (France)<\/p>\n","protected":false},"excerpt":{"rendered":"

Table of Contents Editorial | \u00c9ditorial Yun-Cheol Kim (Korea) Interviews: Theatre Practitioners on Criticism Section Editor: Yun-Cheol Kim Editorial Note Yun-Cheol Kim (Korea) Give Advice! Be a Political Journalist! \u2501 Interview with Finnish dramaturge Juha-Pekka Hotinen Matti Linnavuori (Finland) New<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-349","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P7qGU1-5D","_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/10\/wp-json\/wp\/v2\/pages\/349","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/10\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/10\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/10\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/10\/wp-json\/wp\/v2\/comments?post=349"}],"version-history":[{"count":3,"href":"https:\/\/www.critical-stages.org\/10\/wp-json\/wp\/v2\/pages\/349\/revisions"}],"predecessor-version":[{"id":604,"href":"https:\/\/www.critical-stages.org\/10\/wp-json\/wp\/v2\/pages\/349\/revisions\/604"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/10\/wp-json\/wp\/v2\/media?parent=349"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}