{"id":195,"date":"2016-05-12T18:45:04","date_gmt":"2016-05-12T18:45:04","guid":{"rendered":"https:\/\/www.critical-stages.org\/13\/?page_id=195"},"modified":"2016-07-05T18:22:43","modified_gmt":"2016-07-05T18:22:43","slug":"essays","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/13\/essays\/","title":{"rendered":"Essays"},"content":{"rendered":"<div class=\"pt-cv-wrapper\"><div class=\"pt-cv-view pt-cv-grid pt-cv-colsys\" id=\"pt-cv-view-7ea0e00017\"><div data-id=\"pt-cv-page-1\" class=\"pt-cv-page\" data-cvc=\"2\"><div class=\"col-md-6 col-sm-6 col-xs-12 pt-cv-content-item pt-cv-1-col\" ><div class='pt-cv-ifield'><a href=\"https:\/\/www.critical-stages.org\/13\/migrations-theatrales-les-apports-des-createurs-de-theatre-etrangers-vers-et-hors-despagne\/\" class=\"_self pt-cv-href-thumbnail pt-cv-thumb-default\" target=\"_self\" ><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.critical-stages.org\/13\/wp-content\/uploads\/sites\/14\/2016\/05\/Irene-Sadowska-Guillon-150x150.jpg\" class=\"pt-cv-thumbnail\" alt=\"\" data-attachment-id=\"46\" data-permalink=\"https:\/\/www.critical-stages.org\/13\/migrations-theatrales-les-apports-des-createurs-de-theatre-etrangers-vers-et-hors-despagne\/irene-sadowska-guillon\/\" data-orig-file=\"https:\/\/www.critical-stages.org\/13\/wp-content\/uploads\/sites\/14\/2016\/05\/Irene-Sadowska-Guillon.jpg\" data-orig-size=\"245,208\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;Tasos&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Irene Sadowska Guillon\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/www.critical-stages.org\/13\/wp-content\/uploads\/sites\/14\/2016\/05\/Irene-Sadowska-Guillon.jpg\" data-large-file=\"https:\/\/www.critical-stages.org\/13\/wp-content\/uploads\/sites\/14\/2016\/05\/Irene-Sadowska-Guillon.jpg\" \/><\/a>\n<h4 class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/13\/migrations-theatrales-les-apports-des-createurs-de-theatre-etrangers-vers-et-hors-despagne\/\" class=\"_self\" target=\"_self\" >Migrations th\u00e9\u00e2trales Les apports des cr\u00e9ateurs de th\u00e9\u00e2tre \u00e9trangers vers et hors d\u2019Espagne<\/a><\/h4><\/div><\/div>\n<div class=\"col-md-6 col-sm-6 col-xs-12 pt-cv-content-item pt-cv-1-col\" ><div class='pt-cv-ifield'><a href=\"https:\/\/www.critical-stages.org\/13\/voir-a-travers-les-yeux-de-sa-bien-aimee-le-role-du-spectateur-dans-le-theatre-immersif\/\" class=\"_self pt-cv-href-thumbnail pt-cv-thumb-default\" target=\"_self\" ><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.critical-stages.org\/13\/wp-content\/uploads\/sites\/14\/2016\/05\/Nele-Wynants-150x150.jpg\" class=\"pt-cv-thumbnail\" alt=\"\" srcset=\"https:\/\/www.critical-stages.org\/13\/wp-content\/uploads\/sites\/14\/2016\/05\/Nele-Wynants-150x150.jpg 150w, https:\/\/www.critical-stages.org\/13\/wp-content\/uploads\/sites\/14\/2016\/05\/Nele-Wynants-230x230.jpg 230w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" data-attachment-id=\"111\" data-permalink=\"https:\/\/www.critical-stages.org\/13\/voir-a-travers-les-yeux-de-sa-bien-aimee-le-role-du-spectateur-dans-le-theatre-immersif\/nele-wynants\/\" data-orig-file=\"https:\/\/www.critical-stages.org\/13\/wp-content\/uploads\/sites\/14\/2016\/05\/Nele-Wynants.jpg\" data-orig-size=\"250,309\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;3.3&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;DMC-TZ4&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1311181527&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;4.7&quot;,&quot;iso&quot;:&quot;100&quot;,&quot;shutter_speed&quot;:&quot;0.025&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"Nele Wynants\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/www.critical-stages.org\/13\/wp-content\/uploads\/sites\/14\/2016\/05\/Nele-Wynants-243x300.jpg\" data-large-file=\"https:\/\/www.critical-stages.org\/13\/wp-content\/uploads\/sites\/14\/2016\/05\/Nele-Wynants.jpg\" \/><\/a>\n<h4 class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/13\/voir-a-travers-les-yeux-de-sa-bien-aimee-le-role-du-spectateur-dans-le-theatre-immersif\/\" class=\"_self\" target=\"_self\" >\u00ab Voir \u00e0 travers les yeux de sa bien-aim\u00e9e \u00bb : Le r\u00f4le du spectateur dans le th\u00e9\u00e2tre immersif<\/a><\/h4><\/div><\/div>\n<div class=\"col-md-6 col-sm-6 col-xs-12 pt-cv-content-item pt-cv-1-col\" ><div class='pt-cv-ifield'><a href=\"https:\/\/www.critical-stages.org\/13\/chute\/\" class=\"_self pt-cv-href-thumbnail pt-cv-thumb-default\" target=\"_self\" ><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.critical-stages.org\/13\/wp-content\/uploads\/sites\/14\/2016\/07\/Pavis150.jpg\" class=\"pt-cv-thumbnail\" alt=\"\" data-attachment-id=\"908\" data-permalink=\"https:\/\/www.critical-stages.org\/13\/chute\/pavis150\/\" data-orig-file=\"https:\/\/www.critical-stages.org\/13\/wp-content\/uploads\/sites\/14\/2016\/07\/Pavis150.jpg\" data-orig-size=\"150,150\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Pavis150\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/www.critical-stages.org\/13\/wp-content\/uploads\/sites\/14\/2016\/07\/Pavis150.jpg\" data-large-file=\"https:\/\/www.critical-stages.org\/13\/wp-content\/uploads\/sites\/14\/2016\/07\/Pavis150.jpg\" \/><\/a>\n<h4 class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/13\/chute\/\" class=\"_self\" target=\"_self\" >CHUTE<\/a><\/h4><\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"","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-195","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P7Ekoe-39","_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/13\/wp-json\/wp\/v2\/pages\/195","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/13\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/13\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/13\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/13\/wp-json\/wp\/v2\/comments?post=195"}],"version-history":[{"count":0,"href":"https:\/\/www.critical-stages.org\/13\/wp-json\/wp\/v2\/pages\/195\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/13\/wp-json\/wp\/v2\/media?parent=195"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}