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The IATC journal/Revue de l'AICT – December 2015: Issue No 12

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“Questioning Spirit”—Dramaturgy in America

“Questioning Spirit”—Dramaturgy in America

Mark Bly in conversation with Katalin Trencsényi by Katalin Trencsényi* Mark Bly is an American dramaturg, editor, and lecturer. He was the chair of the Playwriting Program at the Yale School of Drama from 1992-2004, while being the associate artistic

cs2-admin July 25, 2021June 3, 2023 Interviews No Comments Read more

Peindre et repeindre l’œuvre classique de Danwon: théâtralité et performance chez Lee Ok Kyoung

Peindre et repeindre l’œuvre classique de Danwon: théâtralité et performance chez Lee Ok Kyoung

Patrice Pavis* La peintre contemporaine Lee Ok Kyoung a déjà à son actif une œuvre considérable dont la série « Homage to Danwon » n’est qu’une facette particulière dans une création très variée et ce, même au sein de l’exposition

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On Killing Children: Greek Tragedies on British Stages in 2015

On Killing Children: Greek Tragedies on British Stages in 2015

Margherita Laera* I have just watched three children die at the hands of their parents, collapsing in their arms. Two were killed by their mother, Medea, and one by her father, Agamemnon. These acts of infanticide took place in London,

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Adaptation and Storytelling in the Theatre

Adaptation and Storytelling in the Theatre

Frances Babbage* This essay examines how concerns and critiques around stories and storytelling might be used productively to reframe an understanding of theatrical retellings, in performance practice and in adaptation studies. Adaptations in the theatre need not, of course, be

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Adaptation as (Re)watching

Adaptation as (Re)watching

Katja Krebs* We have all watched adaptations, whether on the small or big screen, as theatre, musical or opera. Some of us have chosen theatrical events because they are adaptations of texts we know, while some of us are not

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Interdisciplinary Considerations about a Subgenre of the Contemporary Biographical Drama: Celebrity and Fandom in Recent Adaptations of Famous Lives for the Stage

Interdisciplinary Considerations about a Subgenre of the Contemporary Biographical Drama: Celebrity and Fandom in Recent Adaptations of Famous Lives for the Stage

Márta Minier* When discussing historical drama, biographical drama, documentary and verbatim theatre as architextually related types of drama, the concept of adaptation is not utilised often enough, though it is occasionally cited at least as a trope and, in rather

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Michael Chekhov’s Theatre Theory and Pedagogy of Theatre Adaptation

Michael Chekhov’s Theatre Theory and Pedagogy of Theatre Adaptation

Yana Meerzon* In A Dead Man’s Memoir (A Theatrical Novel), Mikhail Bulgakov describes writing a novel as being possessed by one’s nightmares, a process of registering in words the world of fiction appearing in the author’s mind (6-7). He compares

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Mise-en-Scène as Adaptation

Mise-en-Scène as Adaptation

Avra Sidiropoulou* A classic is a work which persists as background noise, even when a present that is totally incompatible with it holds sway. (Calvino 8) (Known) Writings and (New) Readings No literary work should ever really fear adaptation. New

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Where is Here: Reconstructing the Canadian Immigrant Experience

Where is Here: Reconstructing the Canadian Immigrant Experience

Kim’s Convenience. Written by Ins Choi. Directed by Weyni Mengesha. Stage and costume design Ken MacKenzie. Lighting design Lorenzo Savoini. Actors: Chantelle Han, Paul Sun-Hyung Lee, Jane Luk, Andre Sills, Dale Yim. Originally produced at the 2011 Toronto Fringe Festival

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Transgressing Spaces, Genres and Gender

Transgressing Spaces, Genres and Gender

The CPH Stage Festival, 11-25 June, 2015, in Copenhagen, Denmark. Rita Sebestyén* In 2015, the Copenhagen Stage Festival presented nearly one hundred performances and events, lectures, site-specific and audio-walks, multi-sensory experiences, public parties, and a theatre flea market. Almost half

cs2-admin December 21, 2015June 3, 2023 Performance Reviews at Home Read more
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Critical Stages is published with generous support from the Department of Theatre and the College of Fine and Applied Arts at the University of Illinois at Urbana-Champaign, U.S.

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