{"id":5,"date":"2016-10-30T10:12:44","date_gmt":"2016-10-30T10:12:44","guid":{"rendered":"https:\/\/www.critical-stages.org\/14\/?page_id=5"},"modified":"2017-01-15T18:06:29","modified_gmt":"2017-01-15T18:06:29","slug":"contents","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/14\/","title":{"rendered":"Contents"},"content":{"rendered":"

Table of Contents<\/h3>\n

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

\n
Special Topic: Theatre and Statelessness in Europe<\/span><\/a><\/h5>\n

Section Guest Editors: S. E. Wilmer<\/strong> (Ireland) and Azadeh Sharifi<\/strong> (Germany)<\/p>\n

<\/p>\n

Reflections on Theatre and Statelessness<\/a>
\nS. E. Wilmer\u00a0and Azadeh Sharifi<\/p>\n

Authenticity and Otherness: Reflecting Statelessness in German Postmigrant Theatre<\/a>
\n<\/strong>Jonas Tinius<\/p>\n

\u201cWe Accuse Europe\u201d: Staging Justice for Refugees, Migrants and Asylum Seekers in Europe<\/a>
\nJamie H. Trnka<\/p>\n

Refugees in German Documentary Theatre<\/a>
\nKatrin Sieg<\/p>\n

In Transit: Wajdi Mouawad\u2019s Scorched<\/em>\u00a0in Bremen, Germany, as Theatre of Anticipation<\/a>
\nYana Meerzon and Daniel Meyer-Dinkgr\u00e4fe<\/p>\n

(Un)making Boundaries: Representing Elfriede Jelinek\u2019s Charges<\/em> (the Supplicants<\/em>)<\/a>
\nSilke Felber<\/p>\n

Fugitive Performance: Nicolas Stemann\u2019s Die Schutzbefohlenen<\/em>\u00a0and the Medial Matrix of Refugee Theatre<\/a>
\nRalf Remshardt<\/p>\n

The State at Play? Notions of State(less)ness in Contemporary Interventionist Performances<\/a>
\nAnika Marschall<\/p>\n

Refugee Narratives: Case Farmakonisi or The Justice of the Water<\/em><\/a>
\nZafiris Nikitas<\/p>\n

Unheard Voices, Unseen Faces: Staging Stories of Male Refugee Youth<\/a>
\nRosanna Jahangard and Kate Duffy<\/p>\n

“One in a Million”: Trailer with an introduction by Steve Wilmer<\/a>
\nSteve Wilmer<\/p>\n

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

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

<\/p>\n

\u201cTheatre can play a more prophetic role in our society\u201d: An interview with Mike van Graan<\/a>
\nby Savas Patsalidis<\/p>\n

Quand Shakespeare rencontre la R\u00e9volution mexicaine: Une entrevue avec Juan Carrillo<\/a>
\npar Alvina Ruprecht<\/p>\n

Immortal Mortals: Zarina Zabrisky\u2019s Theatrical Thinking and Arts Resistance<\/a>
\nby Lissa Tyler Renaud<\/p>\n

Understanding versus Experiencing: An interview with Erika Fischer-Lichte<\/a>
\nby Tina Peric<\/p>\n

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

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

<\/p>\n

Return to the Absurd<\/a>
\nJohn Elsom<\/p>\n

Atmospheres of Dividual Performance<\/a>
\nJohannes Birringer<\/p>\n

So Many Worlds to Write<\/a>
\nNathalie Fillion
\nwith an introduction by Karen Fricker<\/em><\/p>\n

Qui est Eilert L\u00f8vborg, le personnage d\u2019Ibsen dans Hedda Gabler<\/em> ?<\/a>
\nSelim Lander<\/p>\n

\n
Conference Papers: Newness and Global Theatre<\/span><\/a><\/h5>\n

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

<\/p>\n

Editorial Note<\/a>
\nIvan Medenica<\/p>\n

Innovation and Globalization: Interweaving Performance Cultures<\/a>
\nErika Fischer-Lichte<\/p>\n

Le th\u00e9\u00e2tre : minorit\u00e9 et politique<\/a>
\nGeorges Banu<\/p>\n

Old Is New, New Is Old: Hamilton<\/em> in the Age of Trump<\/a>
\nJeffrey Eric Jenkins<\/p>\n

Nouveaut\u00e9, attentes et risque<\/a>
\nMichel Va\u00efs<\/p>\n

Dissolving in Time: The Traditional Iranian Theatre<\/a>
\nKatayoun Hosseinzadeh Salmasi<\/p>\n

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

Section Editor: Matti Linnavuori<\/strong> (Finland)<\/p>\n

<\/p>\n

At Bitef, Europe Confronts Its Post-Colonial Legacy and the \u201cOther\u201d<\/a>
\nMartin Morrow<\/p>\n

April in Romania<\/a>
\nBarry Gaines<\/p>\n

Love and Landscape Have Style in Czech<\/a>
\nMatti Linnavuori<\/p>\n

Italy Honours the Merciful Shakespeare<\/a>
\nClaudia Provvedini<\/p>\n

2666 ou la mort du th\u00e9\u00e2tre<\/a>
\nSelim Lander<\/p>\n

La Mouette<\/em> et son double, sous un nouveau regard<\/a>
\nHyun-sook, Shin<\/p>\n

Roberto Zucco<\/em> de Kolt\u00e8s revisit\u00e9 \u00e0 S\u00e9oul<\/a>
\nJean Pierre Han<\/p>\n

China\u2019s Reincarnation Novel Reincarnated on Stage: Dream of the Red Chamber<\/em><\/a>
\nLissa Tyler Renaud<\/p>\n

L\u2019\u00e9pop\u00e9e labyrinthique de Max Aub<\/a>
\nIr\u00e8ne Sadowska Guillon<\/p>\n

A Ruthless Rewriting of The Beggar\u2019s Opera<\/em> in Timi\u015foara<\/a>
\nMaria Z\u0103rnescu<\/p>\n

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

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

\u00a0\u00a0\u00a0<\/div>\n

Deleuze and Beckett<\/a>
\nReviewed by Will Daddario<\/p>\n

Jamaican Plays: A Postcolonial Anthology (1977-87)<\/a>
\nReviewed by Alvina Ruprecht<\/p>\n

This Bizarre Circus Is Life Itself: Beckett Performance in Greece (1960-2010)<\/a>
\nReviewed by Katerina Delikonstantinidou<\/p>\n

Hamlet and the Madness of the World<\/a>
\nReviewed by Patricia Keeney<\/p>\n

Political Performance in Syria: From the Six-Day War to the Syrian Uprising<\/a>
\nReviewed by Marjan Moosavi<\/p>\n

\n
Thalia Prize<\/span><\/a><\/h5>\n

<\/p>\n

The Laudatio Speech for Femi Osofisan<\/a>
\nErika Fischer-Lichte<\/p>\n

A Brief Introduction to Femi Osofisan<\/a>
\nDon Rubin<\/p>\n

Thalia Prize: Its History<\/a>
\nMargareta S\u00f6renson<\/p>\n","protected":false},"excerpt":{"rendered":"

Table of Contents Editorial\/\u00c9ditorial Savas Patsalidis (editor-in-chief) Special Topic: Theatre and Statelessness in Europe Section Guest Editors: S. E. Wilmer (Ireland) and Azadeh Sharifi (Germany) Reflections on Theatre and Statelessness S. E. Wilmer\u00a0and Azadeh Sharifi Authenticity and Otherness: Reflecting Statelessness<\/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-5","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P83Osv-5","jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/14\/wp-json\/wp\/v2\/pages\/5","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=5"}],"version-history":[{"count":0,"href":"https:\/\/www.critical-stages.org\/14\/wp-json\/wp\/v2\/pages\/5\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/14\/wp-json\/wp\/v2\/media?parent=5"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}