{"id":5,"date":"2016-05-09T17:25:27","date_gmt":"2016-05-09T17:25:27","guid":{"rendered":"https:\/\/www.critical-stages.org\/13\/?page_id=5"},"modified":"2022-01-29T08:59:28","modified_gmt":"2022-01-29T08:59:28","slug":"contents","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/13\/","title":{"rendered":"Contents"},"content":{"rendered":"

Table of Contents<\/h1>\n

Editorial<\/a> \/ \u00c9ditorial<\/a>
\nSavas Patsalidis (editor-in-chief)<\/p>\n

\n
Special Topic: Global Dancescapes <\/span><\/a><\/h5>\n

Section Guest Editors: Margareta S\u00f6renson<\/strong> (Sweden) and Octavian Saiu<\/strong> (Romania)<\/p>\n

\"Reconstruction<\/a><\/p>\n

Shall We Dance?<\/a>
\nMargareta S\u00f6renson (Sweden)<\/p>\n

Tracking Performances in the Digital Age<\/a>
\nDeborah Jowitt (USA)<\/p>\n

The Human Body in Contemporary Dance: from Costumes to Nakedness<\/a>
\nMaria Tsouvala and Katia Savrami (Greece)<\/p>\n

Towards a Free Body<\/a>
\nPeng Tao and Dan Feng (China)<\/p>\n

Enigmatic Bodyscapes \u2013 Sampling South African Dance<\/a>
\nAdrienne Sichel (South Africa)<\/p>\n

Dances of Africa: From Lived Experience to Entertainment<\/a>
\nArnold Benjamin Udoka (Nigeria)<\/p>\n

A Male Ant Has Straight Antennae<\/a>
\nVikram Phukan (India)<\/p>\n

Korean Choreography Inspired by Shamanist Rituals and Dance<\/a>
\nYi Joung Noh (South K\u03bfrea)<\/p>\n

\n
Interviews: The Freedom of Dance<\/span><\/a><\/h5>\n

Section Guest Editors: Margareta S\u00f6renson<\/strong> (Sweden) and Octavian Saiu<\/strong> (Romania)<\/p>\n

\"Marnie<\/a><\/p>\n

\u201cA Civilizing Force\u201d – Interview with Marnie Thomas Wood<\/a>
\nby Lissa Tyler Renaud (USA)<\/p>\n

Reflections on Contemporary Chinese Dance: Three Interviews<\/a>
\nby Peng Tao (China)<\/p>\n

African Dance in Transition – Interview with Arnold Udoka<\/a>
\nby Emmanuel S. Dandaura (Nigeria)<\/p>\n

La danse et l\u2019esprit d\u2019un Roumain transnational: Entretien avec Gigi C\u0103ciuleanu<\/a>
\nPar Octavian Saiu (Romania)<\/p>\n

Always Something New: Interview with Tilde Bj\u00f6rfors, Founder of Cirkus Cirk\u00f6r<\/a>
\nBy Margareta S\u00f6renson (Sweden)<\/p>\n

Unconquerable Bodies: Interview with Edgardo Mercado<\/a>
\nBy Halima Tahan Ferreira (Argentina)<\/p>\n

An Activist in Dance: Interview with Virve Sutinen, Director of Tanz Im August Festival<\/a>
\nby Ann-Marie Wrange (Sweden)<\/p>\n

\n
Essays
\n<\/span><\/a><\/h5>\n

Chute<\/a>\"Picture7\"<\/a>
\nPatrice Pavis (France)<\/p>\n

Migrations th\u00e9\u00e2trales Les apports des cr\u00e9ateurs de th\u00e9\u00e2tre \u00e9trangers vers et hors d\u2019Espagne<\/a>
\nIr\u00e8ne Sadowska Guillon (France)<\/p>\n

\u00ab Voir \u00e0 travers les yeux de sa bien-aim\u00e9e \u00bb : Le r\u00f4le du spectateur dans le th\u00e9\u00e2tre immersif<\/a>
\nNele Wynants (Belgium)<\/p>\n

\n
Conference Papers: About Shakespeare’s (Post)modernity<\/span><\/a><\/h5>\n

Section Editor: Ivan Medenica<\/strong> (Serbia)<\/p>\n

Shakespeare and Modernity<\/a> \"RICHARD<\/a>
\nJohn Elsom (UK)<\/p>\n

Aestheticization and Politicization of Shakespeare in a Globalized China<\/a>
\nShen Lin (China)<\/p>\n

Trois Richard III<\/em> : trois visions de la pi\u00e8ce<\/a>
\nJean-Pierre Han (France)<\/p>\n

\n
Performance Reviews: North-South, East-West<\/span><\/a><\/h5>\n

Section Editor: Savas Patsalidis<\/strong> (Greece)<\/p>\n

Festivals Around the Globe\"2.PLAYING<\/a><\/span><\/p>\n

\u201cCrossing Europe in One Night\u201d: Best of BE Festival 2015<\/a>
\nNoelia Hernando-Real (Spain)<\/p>\n

Theatre of the World in the Argentine Capital<\/a>
\nAlina Mazzaferro (Argentina)<\/p>\n

Interconnecting Artistic Landscapes in Fujairah<\/a>
\nSavas Patsalidis (Greece)<\/p>\n

Re-reading the Classics Around the Globe<\/span><\/p>\n

Noh\/Nekyia: Homer Recited in Japanese in an Ancient Greek Theatre<\/a>
\nAnna Stavrakopoulou (Greece)<\/p>\n

Jan Fabre’s Mount Olympus, or How to Conceive Culture in Transitional Times?<\/a>
\nFreddy Decreus (Belgium)<\/p>\n

Silence of Loneliness in the Noisy World of Technology<\/a> \"Proben<\/a>
\nKamelia Nikolova (Bulgaria)<\/p>\n

Quand la tourmente s\u2019apaise\u2026 (Le conte d\u2019hiver-The Winter\u2019s Tale)<\/a>
\nIr\u00e8ne Sadowska-Guillon (France)<\/p>\n

A Sinewy Directorial Reading Wins: The Winter\u2019s Tale<\/em><\/a>
\nSoon-ja Hur (South Korea)<\/p>\n

Contemporaries Around the Globe<\/span><\/p>\n

Robert Lepage en marquis de Sade : tr\u00e8s convaincant !<\/a>
\nMichel Va\u00efs (Quebec)<\/p>\n

Une trop bruyante solitude<\/a>
\nAlvina Ruprecht (Canada) \"Quills.<\/a><\/p>\n

The Limits of Action<\/a>
\nTam\u00e1s J\u00e1szay (Hungary)<\/p>\n

Teatime Europe (2014\/15): \u0395urope in a Constant \u201cState of Exception\u201d<\/a>
\nMaria Konomis (Greece)<\/p>\n

An Extraordinary Encounter with Technology: Complicite in Edinburgh<\/a>
\nMark Brown (Scotland\/UK)<\/p>\n

\n
Book Reviews<\/span><\/a><\/h5>\n

Section Editor: Don Rubin<\/strong> (Canada)<\/p>\n

Better Living Through Criticism: How to Think About Art, Pleasure, Beauty, and Truth<\/a>
\nBy A.O. Scott, 260 pp.  New York: Penguin Books, Reviewed by Robin Breon (Canada)<\/p>\n

Critique dramatique et alentours<\/a>
\nPar Jean-Pierre Han, 96 pp. Paris: Carnets de Friction, 2015, Compte rendu de Zo\u00e9 Ververopoulou (Greece)<\/p>\n

The Routledge Companion to Stanislavsky<\/a>
\nAndrew White, Editor, 340 pp. London: Routledge, Reviewed by Christopher Innes (Canada)<\/p>\n

Directing Scenes and Senses: The Thinking of Regie<\/a>
\nBy Peter Boenisch, 256 pp. Manchester University Press, Reviewed by George Rodosthenous (UK)<\/p>\n

Clowns: In Conversation with Modern Masters<\/a>
\nBy Ezra Lebank and David Bridel, 240 pp. London: Routledge, Reviewed by Byron Laviolette (Canada)<\/p>\n

\n
Critics on Criticism<\/span><\/a><\/h5>\n

\"1.<\/a>Section Editor: Mark Brown<\/strong> (Scotland\/UK)<\/p>\n

Deliberation, Embodiment and Oral Criticism: A Case Study on Spill Festival of Performance<\/a>
\nDiana Damian Martin (UK)<\/p>\n

Who Would Notice if the Critics Disappeared?  Notes on Criticism from a Chinese Perspective and More<\/a>
\nKalina Stefanova (Bulgaria)<\/p>\n","protected":false},"excerpt":{"rendered":"

Table of Contents Editorial \/ \u00c9ditorial Savas Patsalidis (editor-in-chief) Special Topic: Global Dancescapes Section Guest Editors: Margareta S\u00f6renson (Sweden) and Octavian Saiu (Romania) Shall We Dance? Margareta S\u00f6renson (Sweden) Tracking Performances in the Digital Age Deborah Jowitt (USA) The Human Body in Contemporary Dance: from<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-5","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P7Ekoe-5","_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/13\/wp-json\/wp\/v2\/pages\/5","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=5"}],"version-history":[{"count":1,"href":"https:\/\/www.critical-stages.org\/13\/wp-json\/wp\/v2\/pages\/5\/revisions"}],"predecessor-version":[{"id":1338,"href":"https:\/\/www.critical-stages.org\/13\/wp-json\/wp\/v2\/pages\/5\/revisions\/1338"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/13\/wp-json\/wp\/v2\/media?parent=5"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}