{"id":41,"date":"2016-04-13T14:20:21","date_gmt":"2016-04-13T14:20:21","guid":{"rendered":"https:\/\/www.critical-stages.org\/11\/?page_id=41"},"modified":"2016-04-13T18:56:05","modified_gmt":"2016-04-13T18:56:05","slug":"performance-reviews-around-the-world-in-eight-reviews","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/11\/performance-reviews-around-the-world-in-eight-reviews\/","title":{"rendered":"Performance Reviews: Around the World in Eight Reviews"},"content":{"rendered":"

Section Editor: Matti Linnavuori<\/strong> (Finland) [1]<\/sup><\/a><\/p>\n

\"OLYMPUS<\/p>\n

This Performance reviews section starts in Greece, the birthplace of theatre as we know it. The next icon of our times is Bertolt Brecht, who receives an atom-by-atom analysis plus a Korean estrangement.<\/p>\n

Australia has been a continent-sized gap in this section so far. The Canadian critic Malcolm Page is here to place Australian stages on the map. The IATC 2014 World Congress held in China also produces a review, of none other than Chekhov who, alongside the Greeks and Brecht, is a cornerstone of our theatrical understanding.<\/p>\n

I find it only logical, also in the geographical sense, that after the North American reviewers the Caribbean will follow, and then, to conclude, a return to Europe with her local masters Camus and Shakespeare.<\/p>\n

\n

[1]<\/a> Matti Linnavuori<\/strong> (b. 1955) edits the Performance Reviews for Critical Stages<\/em>. At home in Finland, he contributes regularly to Parnasso<\/em>, a literary journal. He has written and directed several radio plays for YLE, the Finnish Broadcasting Company.<\/p>\n

\n
\"\"<\/a>\n

Hovering between Tradition and Experiment<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

CERN Kicks Bertolt Brecht to Life<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Jaram Lee Updates Brecht in Cluj<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Why Go to Adelaide<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Beijing\u2019s Bright Cherry Orchard<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

\u00c9critures th\u00e9\u00e2trales en Martinique<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Quand Les Justes de Camus renvoient au terrorisme de l\u2019ETA<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Shakespeare for All<\/a><\/h4><\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

Section Editor: Matti Linnavuori (Finland) [1] This Performance reviews section starts in Greece, the birthplace of theatre as we know it. The next icon of our times is Bertolt Brecht, who receives an atom-by-atom analysis plus a Korean estrangement. Australia<\/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-41","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P7rA5b-F","_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/11\/wp-json\/wp\/v2\/pages\/41","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=41"}],"version-history":[{"count":0,"href":"https:\/\/www.critical-stages.org\/11\/wp-json\/wp\/v2\/pages\/41\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/11\/wp-json\/wp\/v2\/media?parent=41"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}