{"id":31,"date":"2016-04-13T14:17:58","date_gmt":"2016-04-13T14:17:58","guid":{"rendered":"https:\/\/www.critical-stages.org\/11\/?page_id=31"},"modified":"2021-02-20T10:09:27","modified_gmt":"2021-02-20T10:09:27","slug":"contents","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/11\/","title":{"rendered":"Contents"},"content":{"rendered":"

Table of Contents<\/h1>\n

Editorial<\/a> \/ \u00c9ditorial
\n<\/a>Savas Patsalidis (editor-in-chief)<\/p>\n

Commentary<\/a> \/ Commentaire
\n<\/a>Margareta S\u00f6renson (President of IATC)<\/p>\n

\n
Interviews: Practitioners and Directors<\/a><\/span><\/h5>\n

Section Editor: Herv\u00e9 Guay (Quebec)<\/b><\/p>\n

The Dead and the Actor
\n<\/a>Interview with Ricardo Bartis by Halima Tahan Ferreyra<\/p>\n

Moving between Worlds
\n<\/a>Interview with M\u00f3nica Calle by Ana Pais<\/p>\n

Un th\u00e9\u00e2tre document\u00e9 pour repenser le r\u00e9el
\n<\/a>Entretien avec Fran\u00e7oise Bloch Propos recueillis par Karolina Svobodova<\/p>\n

Combining Playfulness and Artistry into the Essence of Theatre<\/a>
\nInterview with Sun-woong Koh by Soon-ja Hur<\/p>\n

\u201cIt is very important to connect ourselves to a network of universal values without sacrificing our identity.\u201d
\n<\/a>Interview with Tompa G\u00e1bor by Ludmila Patlanjoglu<\/p>\n

Passion and Relentless Curiosity
\n<\/a>Interview with Willie White, Artistic Director of Dublin Theatre Festival by Ciara O\u2019Dow<\/p>\n

The Shaw Festival and the New Canadian Canon
\n<\/a>Interview with Jackie Maxwell by Karen Fricker<\/p>\n

\n
Special Topic: The New Generation of Playwrights<\/a><\/span><\/h5>\n

Section Editor: Manabu Noda (Japan)<\/strong><\/p>\n

Argentina \u2013 Introduction: Dramas from the Confines of the World<\/a>
\nHalima Tahan Ferreyra<\/p>\n

Maharashtra, India \u2013 New Generation of Playwrights in the Marathi Theatre<\/a>
\nMadhav Vaze<\/p>\n

Nigeria \u2013 From Page to Stage: Influences and Challenges Shaping the New Generation of Nigerian Playwrights*<\/a>
\nEmmanuel S. Dandaura<\/p>\n

France – Une nouvelle g\u00e9n\u00e9ration d\u2019auteurs de th\u00e9\u00e2tre en France<\/a>
\nJean-Pierre Han<\/p>\n

Espagne – Nouvelles dramaturgies espagnoles: Les sc\u00e8nes d\u2019un monde \u00e9clat\u00e9<\/a>
\nIr\u00e8ne Sadowska-Guillon<\/p>\n

Le Qu\u00e9bec, Canada \u2013 S\u2019adresser au spectateur actuel: Trois auteurs qu\u00e9b\u00e9cois dans la trentaine<\/a>
\nSara Thibault<\/p>\n

La Cara\u00efbe francophone \/ cr\u00e9olophone \u2013 Nouvelle g\u00e9n\u00e9ration: Trois dramaturges de la Cara\u00efbe francophone \/ cr\u00e9olophone<\/a>
\nAlvina Ruprecht<\/p>\n

\n
Essays: Contemporary Reflections on Morality and Death<\/a><\/span><\/h5>\n

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

Lars Nor\u00e9n and the Contemporary Me<\/a>
\nMargareta S\u00f6renson<\/p>\n

From Heiner M\u00fcller\u2019s Death in Berlin to Christoph Schlingensief\u2019s \u201cDeath\u201d in Venice: Metaphors and Spectacles of Illness on the Occasion of a Nobel Prize<\/a>
\nVinia Dakari<\/p>\n

\n
Conference Papers: The Present Day Problematics and Challenges of Theatre Criticism\/Reviewing<\/a><\/span><\/h5>\n

Section Guest Editor: Deepa Punjani (India)<\/b><\/p>\n

The Changing Scenario: Transitions in 21st Century Theatre in Kerala
\n<\/a>Renu Ramanath<\/p>\n

La critique professionnelle \u00e0 l\u2019heure d\u2019Internet
\n<\/a>Jean-Pierre Han<\/p>\n

Three Times Transition
\n<\/a>Margareta S\u00f6renson<\/p>\n

Une critique en cascade
\n<\/a>St\u00e9phane Gilbart<\/p>\n

Who Speaks for Theatre in the Digital Age? (We Should!)
\n<\/a>Brad Hathaway<\/p>\n

\n
Performance Reviews: Around the World in Eight Reviews<\/a><\/span><\/h5>\n

Section Editor: Matti Linnavuori (Finland)<\/b><\/p>\n

Hovering between Tradition and Experiment
\n<\/a>Grigorios Ioannidis<\/p>\n

CERN Kicks Bertolt Brecht to Life<\/a>
\nLamice El-Amari<\/p>\n

Jaram Lee Updates Brecht in Cluj
\n<\/a>Matti Linnavuori<\/p>\n

Why Go to Adelaide
\n<\/a>Malcolm Page<\/p>\n

Beijing\u2019s Bright Cherry Orchard
\n<\/a>Lissa Tyler Renaud<\/p>\n

\u00c9critures th\u00e9\u00e2trales en Martinique
\n<\/a>Selim Lander<\/p>\n

Quand Les Justes de Camus renvoient au terrorisme de l\u2019ETA
\n<\/a>Ir\u00e8ne Sadowska-Guillon<\/p>\n

Shakespeare for All
\n<\/a>Maria Z\u0103rnescu<\/p>\n

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

Section Editor: Don Rubin (Canada)<\/b><\/p>\n

Howard Barker\u2019s Art of Theatre: Essays on his plays, poetry and production work
\n<\/a>Edited by David Ian Rabey and Sarah Goldingay 272 pp. Manchester: Manchester University Press Reviewed by Dominic Cavendish<\/p>\n

Dramatic and Post-dramatic Theatre: Ten Years After
\n<\/a>Ivan Medenica, editor 150 pp. Belgrade: Institute of Theatre, Film, Radio and Television Faculty of Dramatic Arts Reviewed by Katerina Delikonstantinidou<\/p>\n

The Kwagh-Hir Theater: A Weapon for Social Action
\n<\/a>By Iyorwuese Hagher 256 pp. Lanham, Maryland: University Press of America Reviewed by Don Rubin<\/p>\n

Tennessee Williams: Mad Pilgrimage of the Flesh
\n<\/a>A Biography by John Lahr 765 pp. New York: Norton and Company Reviewed by Patricia Keeney<\/p>\n

Performed Imaginaries
\n<\/a>By Richard Schechner 196 pp. London and New York: Routledge Reviewed by Don Rubin<\/p>\n

\n
Critics on Criticism<\/a><\/span><\/h5>\n

Theatre Criticism and Digital Poetics (A Case Study)
\n<\/a>Diana Damian Martin<\/p>\n","protected":false},"excerpt":{"rendered":"

Table of Contents Editorial \/ \u00c9ditorial Savas Patsalidis (editor-in-chief) Commentary \/ Commentaire Margareta S\u00f6renson (President of IATC) Interviews: Practitioners and Directors Section Editor: Herv\u00e9 Guay (Quebec) The Dead and the Actor Interview with Ricardo Bartis by Halima Tahan Ferreyra Moving<\/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-31","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P7rA5b-v","_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/11\/wp-json\/wp\/v2\/pages\/31","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/11\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/11\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/11\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/11\/wp-json\/wp\/v2\/comments?post=31"}],"version-history":[{"count":3,"href":"https:\/\/www.critical-stages.org\/11\/wp-json\/wp\/v2\/pages\/31\/revisions"}],"predecessor-version":[{"id":835,"href":"https:\/\/www.critical-stages.org\/11\/wp-json\/wp\/v2\/pages\/31\/revisions\/835"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/11\/wp-json\/wp\/v2\/media?parent=31"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}