\nSavas Patsalidis (editor-in-chief)<\/p>\n
\n
Interviews: Playwrights on Playwriting<\/a><\/span><\/h5>\nSection Guest Editor: Katayoun H. Salmasi<\/strong> (Iran)<\/p>\nThe Playwright is a Labourer of Love<\/a>
\nInterview with Femi Osofisan by Olakunbi Olasope<\/p>\nUn th\u00e9\u00e2tre d\u00e9mystificateur, critiques et briseurs de consensus<\/a>
\nEntretien avec Santiago Martin Bermudez: propos recueillis par Ir\u00e8ne Sadowska Guillon<\/p>\nRevisiting the Classics<\/a>
\nInterview with Charles Mee by Elena Delliou<\/p>\nInternational and In-Home Theatre: New Audiences, New Spaces<\/a>
\nInterview with Paul Heller by Lissa Tyler Renaud<\/p>\n\u201cQuestioning Spirit\u201d\u2014Dramaturgy in America<\/a>
\nMark Bly in conversation with Katalin Trencs\u00e9nyi<\/p>\n
\nSpecial Topic: Adaptation<\/a><\/span><\/h5>\nSection Guest Editor: Patrice Pavis<\/strong> (France)<\/p>\nMise-en-Sc\u00e8ne as Adaptation<\/a>
\nAvra Sidiropoulou<\/p>\nMichael Chekhov\u2019s Theatre Theory and Pedagogy of Theatre Adaptation<\/a>
\nYana Meerzon<\/p>\nInterdisciplinary Considerations about a Subgenre of the Contemporary Biographical Drama: Celebrity and Fandom in Recent Adaptations of Famous Lives for the Stage<\/a>
\nM\u00e1rta Minier<\/p>\nAdaptation as (Re)watching<\/a>
\nKatja Krebs<\/p>\nAdaptation and Storytelling in the Theatre<\/a>
\nFrances Babbage<\/p>\nOn Killing Children: Greek Tragedies on British Stages in 2015<\/a>
\nMargherita Laera<\/p>\nPeindre et repeindre l\u2019\u0153uvre classique de Danwon: th\u00e9\u00e2tralit\u00e9 et performance chez Lee Ok Kyoung<\/a>
\nPatrice Pavis<\/p>\n
\nEssays<\/a><\/span><\/h5>\n![\"PHOTO](\"https:\/\/www.critical-stages.org\/12\/wp-content\/uploads\/sites\/2\/2015\/12\/PHOTO-CERVANTES-300x190.jpg\")
<\/p>\n
Le couple Don Miguel de Cervant\u00e8s Saavedra et Don Quijote f\u00eate son quatre centi\u00e8me anniversaire<\/a>
\nIr\u00e8ne Sadowska Guillon<\/p>\n
\nConference Papers: The Critic is Present or Towards an Embodied Criticism<\/a><\/span><\/h5>\nSection Editor: Ivan Medenica<\/strong> (Serbia)<\/p>\nCriticism IRL: Dancing, Touching, Sharing or: The Critic Turns Poet<\/a>
\nMargareta S\u00f6renson<\/p>\nThe Living Museum of my Generation\u2019s Failure: On The Living Museum of Small, Forgotten and Unwanted Memories<\/em> by Joana Craveiro\/ Teatro do Vestido<\/a>
\nRui Pina Coelho<\/p>\nLa reconstitution historique dans la critique th\u00e9\u00e2trale<\/a>
\nIrina Antonova<\/p>\nIn Extremis: Theatre Criticism, Ethics and the Public Sphere<\/a>
\nChristopher Balme<\/p>\n
\nPerformance Reviews: (Inter)national (Re)viewing<\/a><\/span><\/h5>\nSection Editor: Matti Linnavuori<\/b> (Finland) (in collaboration with Savas Patsalidis<\/strong>, Greece)<\/p>\nCritics Abroad<\/strong><\/span><\/p>\nUn panorama partiel du Festival de Tbilissi en G\u00e9orgie<\/a>
\nJean-Pierre Han<\/p>\nCircus Cirk\u00f6r Goes beyond Thrills at Swedish Biennale<\/a>
\nJay Handelman<\/p>\nDancing on the Edge of the Abyss\u2014Russian Theatre\u2019s Risky Response to Repression<\/a>
\nIan Herbert<\/p>\nS\u0153urs de Wajdi Mouawad : Apocalypse dans une chambre d\u2019h\u00f4tel<\/a>
\nSelim Lander<\/p>\nHarsh Criticism of the European Fortress<\/a>
\nIsabella Rothberg<\/p>\nThe Ship May Be Sinking But in the Czech Republic the Band Plays On<\/a>
\nMax Wyman<\/p>\nGenet and Euripides Done Excellent Justice in Tbilisi<\/a>
\nMark Brown<\/p>\nCritics at Home<\/strong><\/span><\/p>\nWhere is Here: Reconstructing the Canadian Immigrant Experience<\/a>
\nPatricia Keeney<\/p>\nFrom Lapland to Spitzbergen with Juha Hurme<\/a>
\nMatti Linnavuori<\/p>\nCaramitru\u2014Prospero and the Apocalypse Generation<\/a>
\nLudmila Patlanjoglu<\/p>\nUn match du si\u00e8cle sur l\u2019\u00e9chiquier du monde<\/a>
\nIr\u00e8ne Sadowska-Guillon<\/p>\nTransgressing Spaces, Genres and Gender<\/a>
\nRita Sebesty\u00e9n<\/p>\nNETA Festival\u2014A Hero of a Hot Summer<\/a>
\nMaria Z\u0103rnescu<\/p>\n
\nBook Reviews<\/a><\/span><\/h5>\nSection Editor: Don Rubin<\/strong> (Canada)<\/p>\nThe Jamaican Theatre: Highlights of the Performing Arts in the Twentieth Century<\/a>
\nBy Wycliffe Bennett and Hazel Bennett. 362 pp. Jamaica: University of the West Indies Press. Reviewed by Alvina Ruprecht.<\/p>\nArtist on the Make: David Mamet\u2019s Work across Media and Genres
\n<\/a>By Christophe Collard. 366 pp. Nancy, France: Presses Universitaires de Nancy. Reviewed by Thomas Irmer.<\/p>\nThe Cambridge Encyclopedia of Stage Actors and Acting
\n<\/a>Edited by Simon Williams. 694 pp. UK: Cambridge University Press, 2015. Reviewed by Don Rubin.<\/p>\n
\nCritics on Criticism<\/a><\/span><\/h5>\n
The Playwright is a Labourer of Love<\/a> Un th\u00e9\u00e2tre d\u00e9mystificateur, critiques et briseurs de consensus<\/a> Revisiting the Classics<\/a> International and In-Home Theatre: New Audiences, New Spaces<\/a> \u201cQuestioning Spirit\u201d\u2014Dramaturgy in America<\/a> Section Guest Editor: Patrice Pavis<\/strong> (France)<\/p>\n Mise-en-Sc\u00e8ne as Adaptation<\/a> Michael Chekhov\u2019s Theatre Theory and Pedagogy of Theatre Adaptation<\/a> Interdisciplinary Considerations about a Subgenre of the Contemporary Biographical Drama: Celebrity and Fandom in Recent Adaptations of Famous Lives for the Stage<\/a> Adaptation as (Re)watching<\/a> Adaptation and Storytelling in the Theatre<\/a> On Killing Children: Greek Tragedies on British Stages in 2015<\/a> Peindre et repeindre l\u2019\u0153uvre classique de Danwon: th\u00e9\u00e2tralit\u00e9 et performance chez Lee Ok Kyoung<\/a> Le couple Don Miguel de Cervant\u00e8s Saavedra et Don Quijote f\u00eate son quatre centi\u00e8me anniversaire<\/a> Section Editor: Ivan Medenica<\/strong> (Serbia)<\/p>\n Criticism IRL: Dancing, Touching, Sharing or: The Critic Turns Poet<\/a> The Living Museum of my Generation\u2019s Failure: On The Living Museum of Small, Forgotten and Unwanted Memories<\/em> by Joana Craveiro\/ Teatro do Vestido<\/a> La reconstitution historique dans la critique th\u00e9\u00e2trale<\/a> In Extremis: Theatre Criticism, Ethics and the Public Sphere<\/a> Section Editor: Matti Linnavuori<\/b> (Finland) (in collaboration with Savas Patsalidis<\/strong>, Greece)<\/p>\n Critics Abroad<\/strong><\/span><\/p>\n Un panorama partiel du Festival de Tbilissi en G\u00e9orgie<\/a> Circus Cirk\u00f6r Goes beyond Thrills at Swedish Biennale<\/a> Dancing on the Edge of the Abyss\u2014Russian Theatre\u2019s Risky Response to Repression<\/a> S\u0153urs de Wajdi Mouawad : Apocalypse dans une chambre d\u2019h\u00f4tel<\/a> Harsh Criticism of the European Fortress<\/a> The Ship May Be Sinking But in the Czech Republic the Band Plays On<\/a> Genet and Euripides Done Excellent Justice in Tbilisi<\/a> Critics at Home<\/strong><\/span><\/p>\n Where is Here: Reconstructing the Canadian Immigrant Experience<\/a> From Lapland to Spitzbergen with Juha Hurme<\/a> Caramitru\u2014Prospero and the Apocalypse Generation<\/a> Un match du si\u00e8cle sur l\u2019\u00e9chiquier du monde<\/a> Transgressing Spaces, Genres and Gender<\/a> NETA Festival\u2014A Hero of a Hot Summer<\/a> Section Editor: Don Rubin<\/strong> (Canada)<\/p>\n The Jamaican Theatre: Highlights of the Performing Arts in the Twentieth Century<\/a> Artist on the Make: David Mamet\u2019s Work across Media and Genres The Cambridge Encyclopedia of Stage Actors and Acting
\nInterview with Femi Osofisan by Olakunbi Olasope<\/p>\n
\nEntretien avec Santiago Martin Bermudez: propos recueillis par Ir\u00e8ne Sadowska Guillon<\/p>\n
\nInterview with Charles Mee by Elena Delliou<\/p>\n
\nInterview with Paul Heller by Lissa Tyler Renaud<\/p>\n
\nMark Bly in conversation with Katalin Trencs\u00e9nyi<\/p>\n
\nSpecial Topic: Adaptation<\/a><\/span><\/h5>\n
\nAvra Sidiropoulou<\/p>\n
\nYana Meerzon<\/p>\n
\nM\u00e1rta Minier<\/p>\n
\nKatja Krebs<\/p>\n
\nFrances Babbage<\/p>\n
\nMargherita Laera<\/p>\n
\nPatrice Pavis<\/p>\n
\nEssays<\/a><\/span><\/h5>\n
<\/p>\n
\nIr\u00e8ne Sadowska Guillon<\/p>\n
\nConference Papers: The Critic is Present or Towards an Embodied Criticism<\/a><\/span><\/h5>\n
\nMargareta S\u00f6renson<\/p>\n
\nRui Pina Coelho<\/p>\n
\nIrina Antonova<\/p>\n
\nChristopher Balme<\/p>\n
\nPerformance Reviews: (Inter)national (Re)viewing<\/a><\/span><\/h5>\n
\nJean-Pierre Han<\/p>\n
\nJay Handelman<\/p>\n
\nIan Herbert<\/p>\n
\nSelim Lander<\/p>\n
\nIsabella Rothberg<\/p>\n
\nMax Wyman<\/p>\n
\nMark Brown<\/p>\n
\nPatricia Keeney<\/p>\n
\nMatti Linnavuori<\/p>\n
\nLudmila Patlanjoglu<\/p>\n
\nIr\u00e8ne Sadowska-Guillon<\/p>\n
\nRita Sebesty\u00e9n<\/p>\n
\nMaria Z\u0103rnescu<\/p>\n
\nBook Reviews<\/a><\/span><\/h5>\n
\nBy Wycliffe Bennett and Hazel Bennett. 362 pp. Jamaica: University of the West Indies Press. Reviewed by Alvina Ruprecht.<\/p>\n
\n<\/a>By Christophe Collard. 366 pp. Nancy, France: Presses Universitaires de Nancy. Reviewed by Thomas Irmer.<\/p>\n
\n<\/a>Edited by Simon Williams. 694 pp. UK: Cambridge University Press, 2015. Reviewed by Don Rubin.<\/p>\n
\nCritics on Criticism<\/a><\/span><\/h5>\n