{"id":49,"date":"2016-04-13T14:21:59","date_gmt":"2016-04-13T14:21:59","guid":{"rendered":"https:\/\/www.critical-stages.org\/11\/?page_id=49"},"modified":"2016-04-13T16:37:04","modified_gmt":"2016-04-13T16:37:04","slug":"special-topics-la-nouvelle-generation-decrivains-dramaturges","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/11\/special-topics-the-new-generation-of-playwrights\/special-topics-la-nouvelle-generation-decrivains-dramaturges\/","title":{"rendered":"Special Topics: La nouvelle g\u00e9n\u00e9ration d\u2019\u00e9crivains dramaturges"},"content":{"rendered":"

The New Generation of Playwrights<\/a><\/p>\n

Note \u00e9ditoriale: Manabu Noda<\/strong> (Japon) [1]<\/sup><\/a><\/p>\n

\"Editorial<\/p>\n

L\u2019\u00e9criture dramatique est-elle d\u00e9j\u00e0 victime de la super-comp\u00e9tence m\u00e9ta-dramatique? Pas encore, semble \u00eatre la r\u00e9ponse qu\u2019on ressent des articles que comprend l\u2019actuel num\u00e9ro de la revue Critical Stages<\/em>, sous le titre \u00abLa nouvelle g\u00e9n\u00e9ration d\u2019\u00e9crivains dramatiques\u00bb. L\u2019hommage est centr\u00e9 exclusivement aux auteurs dramaturges du monde entier, qui se sont manifest\u00e9s apr\u00e8s 2001.<\/p>\n

Il \u00e9tait \u00e9vident que l\u2019hommage ne pouvait pas \u00eatre complet. Sous cet aspect, j\u2019ai rassembl\u00e9 avec joie sept articles qui commentent la nouvelle \u00e9criture dramaturge et qui proviennent de l\u2019Argentine, du Qu\u00e9bec, des r\u00e9gions francophones et cr\u00e9oles de la Cara\u00efbe, de France, de l\u2019\u00e9tat de Maharashtra des Indes, du Nig\u00e9ria et d\u2019Espagne.<\/p>\n

En tant que responsable de cet hommage, je souhaite que Critical Stages\/Scenes Critiques <\/em>fasse un hommage dans un de ses prochains num\u00e9ros, en sorte que ses lecteurs puissent \u00eatre davantage inform\u00e9s au sujet de la nouvelle \u00e9criture dramaturge dans plusieurs pays du monde.<\/p>\n

\n

[1]<\/a> <\/strong>Manabu Noda<\/strong> est professeur \u00e0 l\u2019Universit\u00e9 de Meiji (Tokyo, Japon). Sous sa qualit\u00e9 de critique de th\u00e9\u00e2tre et du chercheur, il a \u00e9crit de nombreux articles sur l\u2019art de l\u2019interpr\u00e9tation en Angleterre et au Japon, ainsi que sur l\u2019histoire du th\u00e9\u00e2tre. Il est membre du Comit\u00e9 de la r\u00e9daction de la revue Theatre Arts <\/em>de l\u2019Union des Critiques Japonais du th\u00e9\u00e2tre (IATC).<\/p>\n

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

Argentina – Introduction: Dramas from the Confines of the World<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Maharashtra, India – New Generation of Playwrights in the Marathi Theatre<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Nigeria – From Page to Stage: Influences and Challenges Shaping the New Generation of Nigerian Playwrights*<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

France \u2013 Une nouvelle g\u00e9n\u00e9ration d\u2019auteurs de th\u00e9\u00e2tre en France<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Espagne – Nouvelles dramaturgies espagnoles<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Le Qu\u00e9bec, Canada – S\u2019adresser au spectateur actuel : Trois auteurs qu\u00e9b\u00e9cois dans la trentaine<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

La Cara\u00efbe francophone \/ cr\u00e9olophone – Nouvelle g\u00e9n\u00e9ration: Trois dramaturges de la Cara\u00efbe francophone \/ cr\u00e9olophone<\/a><\/h4><\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

The New Generation of Playwrights Note \u00e9ditoriale: Manabu Noda (Japon) [1] L\u2019\u00e9criture dramatique est-elle d\u00e9j\u00e0 victime de la super-comp\u00e9tence m\u00e9ta-dramatique? Pas encore, semble \u00eatre la r\u00e9ponse qu\u2019on ressent des articles que comprend l\u2019actuel num\u00e9ro de la revue Critical Stages, sous<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":47,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-49","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P7rA5b-N","_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/11\/wp-json\/wp\/v2\/pages\/49","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=49"}],"version-history":[{"count":0,"href":"https:\/\/www.critical-stages.org\/11\/wp-json\/wp\/v2\/pages\/49\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/11\/wp-json\/wp\/v2\/pages\/47"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/11\/wp-json\/wp\/v2\/media?parent=49"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}