{"id":109,"date":"2016-10-30T13:32:33","date_gmt":"2016-10-30T13:32:33","guid":{"rendered":"https:\/\/www.critical-stages.org\/14\/?page_id=109"},"modified":"2016-12-14T19:04:23","modified_gmt":"2016-12-14T19:04:23","slug":"performance-reviews","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/14\/performance-reviews\/","title":{"rendered":"Performance Reviews"},"content":{"rendered":"<p>Section Editor:\u00a0<strong>Matti Linnavuori\u00a0<\/strong>(Finland)<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"490\" data-permalink=\"https:\/\/www.critical-stages.org\/14\/love-and-landscape-have-style-in-czech\/olympus-digital-camera\/\" data-orig-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/mattisphoto.jpg\" data-orig-size=\"250,333\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;4.9&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;X200,D560Z,C350Z&quot;,&quot;caption&quot;:&quot;OLYMPUS DIGITAL CAMERA&quot;,&quot;created_timestamp&quot;:&quot;-62169984000&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;15.6&quot;,&quot;iso&quot;:&quot;128&quot;,&quot;shutter_speed&quot;:&quot;0.01&quot;,&quot;title&quot;:&quot;OLYMPUS DIGITAL CAMERA&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"OLYMPUS DIGITAL CAMERA\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/mattisphoto.jpg\" class=\"alignnone wp-image-490\" src=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/mattisphoto-225x300.jpg\" alt=\"OLYMPUS DIGITAL CAMERA\" width=\"188\" height=\"250\" srcset=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/mattisphoto-225x300.jpg 225w, https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/mattisphoto.jpg 250w\" sizes=\"auto, (max-width: 188px) 100vw, 188px\" \/><\/p>\n<p><strong>Matti Linnavuori<\/strong> wrote theatre criticism between 1978 and 2013 for various newspapers and weeklies in his native Finland. In 1985, he worked for the BBC World Service in London. Since 1998, he has presented papers at numerous IATC events. In the 2000s, he wrote for Teatra Vestnesis in Latvia. Since 1992, he has written and directed several radio plays for YLE the Finnish Broadcasting Company. In March 2016, his play <em>Ta mig till er ledare (<\/em><em>Take me to your leader<\/em>) premiered at Lilla Teatern in Helsinki.<\/p>\n<hr \/>\n<div class=\"pt-cv-wrapper\"><div class=\"pt-cv-view pt-cv-grid pt-cv-colsys\" id=\"pt-cv-view-54bfb7dzs6\"><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\/14\/at-bitef-europe-confronts-its-post-colonial-legacy-and-the-other\/\" 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\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Morrow250-150x150.jpg\" class=\"pt-cv-thumbnail\" alt=\"\" srcset=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Morrow250-150x150.jpg 150w, https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Morrow250-230x230.jpg 230w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" data-attachment-id=\"474\" data-permalink=\"https:\/\/www.critical-stages.org\/14\/at-bitef-europe-confronts-its-post-colonial-legacy-and-the-other\/morrow250\/\" data-orig-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Morrow250.jpg\" data-orig-size=\"250,410\" 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;1&quot;}\" data-image-title=\"morrow250\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Morrow250.jpg\" \/><\/a>\n<h4 class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/14\/at-bitef-europe-confronts-its-post-colonial-legacy-and-the-other\/\" class=\"_self\" target=\"_self\" >At Bitef, Europe Confronts Its Post-Colonial Legacy and the \u201cOther\u201d<\/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\/14\/2666-ou-la-mort-du-theatre\/\" 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\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Photo-Selim-Lander-comp-238x300-150x150.jpg\" class=\"pt-cv-thumbnail\" alt=\"\" srcset=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Photo-Selim-Lander-comp-238x300-150x150.jpg 150w, https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Photo-Selim-Lander-comp-238x300-230x230.jpg 230w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" data-attachment-id=\"482\" data-permalink=\"https:\/\/www.critical-stages.org\/14\/2666-ou-la-mort-du-theatre\/photo-selim-lander-comp-238x300\/\" data-orig-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Photo-Selim-Lander-comp-238x300.jpg\" data-orig-size=\"238,300\" 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=\"photo-selim-lander-comp-238&amp;#215;300\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Photo-Selim-Lander-comp-238x300.jpg\" \/><\/a>\n<h4 class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/14\/2666-ou-la-mort-du-theatre\/\" class=\"_self\" target=\"_self\" >2666 ou la mort du th\u00e9\u00e2tre<\/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\/14\/love-and-landscape-have-style-in-czech\/\" 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\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/mattisphoto-150x150.jpg\" class=\"pt-cv-thumbnail\" alt=\"\" srcset=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/mattisphoto-150x150.jpg 150w, https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/mattisphoto-230x230.jpg 230w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" data-attachment-id=\"490\" data-permalink=\"https:\/\/www.critical-stages.org\/14\/love-and-landscape-have-style-in-czech\/olympus-digital-camera\/\" data-orig-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/mattisphoto.jpg\" data-orig-size=\"250,333\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;4.9&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;X200,D560Z,C350Z&quot;,&quot;caption&quot;:&quot;OLYMPUS DIGITAL CAMERA&quot;,&quot;created_timestamp&quot;:&quot;-62169984000&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;15.6&quot;,&quot;iso&quot;:&quot;128&quot;,&quot;shutter_speed&quot;:&quot;0.01&quot;,&quot;title&quot;:&quot;OLYMPUS DIGITAL CAMERA&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"OLYMPUS DIGITAL CAMERA\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/mattisphoto.jpg\" \/><\/a>\n<h4 class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/14\/love-and-landscape-have-style-in-czech\/\" class=\"_self\" target=\"_self\" >Love and Landscape Have Style in Czech<\/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\/14\/chinas-reincarnation-novel-reincarnated-on-stage-dream-of-the-red-chamber\/\" 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\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Lissa-Tyler-Renaud-150x150.jpg\" class=\"pt-cv-thumbnail\" alt=\"\" srcset=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Lissa-Tyler-Renaud-150x150.jpg 150w, https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Lissa-Tyler-Renaud-230x230.jpg 230w, https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Lissa-Tyler-Renaud.jpg 240w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" data-attachment-id=\"341\" data-permalink=\"https:\/\/www.critical-stages.org\/14\/immortal-mortals-zarina-zabriskys-theatrical-thinking-and-arts-resistance\/lissa-tyler-renaud\/\" data-orig-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Lissa-Tyler-Renaud.jpg\" data-orig-size=\"240,240\" 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=\"lissa-tyler-renaud\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Lissa-Tyler-Renaud.jpg\" \/><\/a>\n<h4 class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/14\/chinas-reincarnation-novel-reincarnated-on-stage-dream-of-the-red-chamber\/\" class=\"_self\" target=\"_self\" >China\u2019s Reincarnation Novel Reincarnated on Stage: <em>Dream of the Red Chamber<\/em><\/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\/14\/april-in-romania\/\" 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\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Barry-Gaines-150x150.jpg\" class=\"pt-cv-thumbnail\" alt=\"\" srcset=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Barry-Gaines-150x150.jpg 150w, https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Barry-Gaines-270x270.jpg 270w, https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Barry-Gaines-230x230.jpg 230w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" data-attachment-id=\"517\" data-permalink=\"https:\/\/www.critical-stages.org\/14\/april-in-romania\/barry-gaines\/\" data-orig-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Barry-Gaines.jpg\" data-orig-size=\"360,504\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;6.3&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;Canon EOS 5D Mark II&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1406027481&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;70&quot;,&quot;iso&quot;:&quot;200&quot;,&quot;shutter_speed&quot;:&quot;0.008&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"barry-gaines\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Barry-Gaines.jpg\" \/><\/a>\n<h4 class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/14\/april-in-romania\/\" class=\"_self\" target=\"_self\" >April in Romania<\/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\/14\/italy-honours-the-merciful-shakespeare\/\" 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\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/claudine-provvedini-150x150.jpg\" class=\"pt-cv-thumbnail\" alt=\"\" srcset=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/claudine-provvedini-150x150.jpg 150w, https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/claudine-provvedini-270x270.jpg 270w, https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/claudine-provvedini-300x300.jpg 300w, https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/claudine-provvedini-230x230.jpg 230w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" data-attachment-id=\"522\" data-permalink=\"https:\/\/www.critical-stages.org\/14\/italy-honours-the-merciful-shakespeare\/claudine-provvedini\/\" data-orig-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/claudine-provvedini.jpg\" data-orig-size=\"300,400\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;2.2&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;GT-I9505&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1397318907&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;4.2&quot;,&quot;iso&quot;:&quot;50&quot;,&quot;shutter_speed&quot;:&quot;0.0068027210884354&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"claudine-provvedini\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/claudine-provvedini.jpg\" \/><\/a>\n<h4 class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/14\/italy-honours-the-merciful-shakespeare\/\" class=\"_self\" target=\"_self\" >Italy Honours the Merciful Shakespeare<\/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\/14\/a-ruthless-rewriting-of-the-beggars-opera-in-timisoara\/\" 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\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Maria-Zarnescu-2013-254x300-150x150.jpg\" class=\"pt-cv-thumbnail\" alt=\"\" srcset=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Maria-Zarnescu-2013-254x300-150x150.jpg 150w, https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Maria-Zarnescu-2013-254x300-230x230.jpg 230w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" data-attachment-id=\"532\" data-permalink=\"https:\/\/www.critical-stages.org\/14\/a-ruthless-rewriting-of-the-beggars-opera-in-timisoara\/maria-zarnescu-2013-254x300\/\" data-orig-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Maria-Zarnescu-2013-254x300.jpg\" data-orig-size=\"254,300\" 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=\"maria-zarnescu-2013-254&amp;#215;300\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Maria-Zarnescu-2013-254x300.jpg\" \/><\/a>\n<h4 class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/14\/a-ruthless-rewriting-of-the-beggars-opera-in-timisoara\/\" class=\"_self\" target=\"_self\" >A Ruthless Rewriting of <em>The Beggar\u2019s Opera<\/em> in Timi\u015foara<\/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\/14\/lepopee-labyrinthique-de-max-aub\/\" 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\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Irene-Sadowska-Guillon-150x150.jpg\" class=\"pt-cv-thumbnail\" alt=\"\" data-attachment-id=\"535\" data-permalink=\"https:\/\/www.critical-stages.org\/14\/lepopee-labyrinthique-de-max-aub\/irene-sadowska-guillon\/\" data-orig-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/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-large-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Irene-Sadowska-Guillon.jpg\" \/><\/a>\n<h4 class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/14\/lepopee-labyrinthique-de-max-aub\/\" class=\"_self\" target=\"_self\" >L&#8217;\u00e9pop\u00e9e labyrinthique de Max Aub<\/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\/14\/la-mouette-et-son-double-sous-un-nouveau-regard\/\" 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\/14\/wp-content\/uploads\/sites\/15\/2016\/12\/photo_Madame-Hyun-sook-Shin-150x150.png\" class=\"pt-cv-thumbnail\" alt=\"\" srcset=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/12\/photo_Madame-Hyun-sook-Shin-150x150.png 150w, https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/12\/photo_Madame-Hyun-sook-Shin.png 200w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" data-attachment-id=\"613\" data-permalink=\"https:\/\/www.critical-stages.org\/14\/la-mouette-et-son-double-sous-un-nouveau-regard\/photo_madame-hyun-sook-shin\/\" data-orig-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/12\/photo_Madame-Hyun-sook-Shin.png\" data-orig-size=\"200,200\" 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=\"photo_madame-hyun-sook-shin\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/12\/photo_Madame-Hyun-sook-Shin.png\" \/><\/a>\n<h4 class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/14\/la-mouette-et-son-double-sous-un-nouveau-regard\/\" class=\"_self\" target=\"_self\" ><em>La Mouette<\/em> et son double, sous un nouveau regard<\/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\/14\/roberto-zucco-de-koltes-revisite-a-seoul\/\" 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\/14\/wp-content\/uploads\/sites\/15\/2016\/12\/Jean-Pierre-Han-300x200-150x150.jpg\" class=\"pt-cv-thumbnail\" alt=\"\" data-attachment-id=\"713\" data-permalink=\"https:\/\/www.critical-stages.org\/14\/roberto-zucco-de-koltes-revisite-a-seoul\/jean-pierre-han-300x200\/\" data-orig-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/12\/Jean-Pierre-Han-300x200.jpg\" data-orig-size=\"300,197\" 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=\"Jean-Pierre-Han-300&amp;#215;200\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/12\/Jean-Pierre-Han-300x200.jpg\" \/><\/a>\n<h4 class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/14\/roberto-zucco-de-koltes-revisite-a-seoul\/\" class=\"_self\" target=\"_self\" ><em>Roberto Zucco<\/em> de Kolt\u00e8s revisit\u00e9 \u00e0 S\u00e9oul<\/a><\/h4><\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Section Editor:\u00a0Matti Linnavuori\u00a0(Finland) Matti Linnavuori wrote theatre criticism between 1978 and 2013 for various newspapers and weeklies in his native Finland. In 1985, he worked for the BBC World Service in London. Since 1998, he has presented papers at numerous<\/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-109","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P83Osv-1L","jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/14\/wp-json\/wp\/v2\/pages\/109","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=109"}],"version-history":[{"count":0,"href":"https:\/\/www.critical-stages.org\/14\/wp-json\/wp\/v2\/pages\/109\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/14\/wp-json\/wp\/v2\/media?parent=109"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}