{"id":105,"date":"2016-10-30T13:31:59","date_gmt":"2016-10-30T13:31:59","guid":{"rendered":"https:\/\/www.critical-stages.org\/14\/?page_id=105"},"modified":"2017-12-22T19:55:29","modified_gmt":"2017-12-22T19:55:29","slug":"essays","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/14\/essays\/","title":{"rendered":"Essays"},"content":{"rendered":"

Section Editor:\u00a0Savas Patsalidis\u00a0<\/strong>(Greece)<\/p>\n

\"\"<\/p>\n

Savas Patsalidis <\/strong>is Professor of theatre and performance history and theory in the School of English (Aristotle University, Thessaloniki), the Hellenic Open University and the Drama Academy of the National Theatre of Northern Greece. He is also a regular lecturer on the Graduate Programme of the Theatre Department at Aristotle University. He is the author of thirteen books on theatre and performance criticism\/theory and co-editor of another thirteen. His two-volume study,\u00a0Theatre, Society, Nation<\/em>\u00a0(2010), was awarded first prize for best theatre study of the year. In addition to his academic activities, he works as a theatre reviewer for the ejournals\u00a0lavart<\/em>,\u00a0parallaxi<\/em>, and\u00a0the greekplay project<\/em>. He is currently the president of the Hellenic Association of Theatre and Performing Arts Critics and the editor-in-chief of\u00a0Critical Stages\/Sc\u00e8nes Critiques<\/em>, the journal of the International Association of Theatre Critics.<\/p>\n

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

Return to the Absurd<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Atmospheres of Dividual Performance<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

So Many Worlds to Write<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Qui est Eilert L\u00f8vborg, le personnage d\u2019Ibsen dans Hedda Gabler<\/em>\u00a0?<\/a><\/h4><\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

Section Editor:\u00a0Savas Patsalidis\u00a0(Greece) Savas Patsalidis is Professor of theatre and performance history and theory in the School of English (Aristotle University, Thessaloniki), the Hellenic Open University and the Drama Academy of the National Theatre of Northern Greece. He is also<\/p>\n","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-105","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P83Osv-1H","jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/14\/wp-json\/wp\/v2\/pages\/105","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/14\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/14\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/14\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/14\/wp-json\/wp\/v2\/comments?post=105"}],"version-history":[{"count":0,"href":"https:\/\/www.critical-stages.org\/14\/wp-json\/wp\/v2\/pages\/105\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/14\/wp-json\/wp\/v2\/media?parent=105"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}