{"id":7,"date":"2016-10-30T10:13:42","date_gmt":"2016-10-30T10:13:42","guid":{"rendered":"https:\/\/www.critical-stages.org\/14\/?page_id=7"},"modified":"2021-03-07T17:21:23","modified_gmt":"2021-03-07T17:21:23","slug":"editorial-board","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/14\/editorial-board\/","title":{"rendered":"Editorial Board"},"content":{"rendered":"<h4 style=\"text-align: center;\"><strong>Editor-in-chief<\/strong><\/h4>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"919\" data-permalink=\"https:\/\/www.critical-stages.org\/14\/editorial-board\/savas_patsalidis400\/\" data-orig-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/10\/Savas_Patsalidis400.jpg\" data-orig-size=\"400,600\" 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=\"Savas_Patsalidis400\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/10\/Savas_Patsalidis400.jpg\" class=\"alignnone wp-image-919\" src=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/10\/Savas_Patsalidis400-200x300.jpg\" width=\"140\" height=\"210\" srcset=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/10\/Savas_Patsalidis400-200x300.jpg 200w, https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/10\/Savas_Patsalidis400.jpg 400w\" sizes=\"auto, (max-width: 140px) 100vw, 140px\" \/><br \/>\n<strong>Savas<\/strong> <strong>Patsalidis<\/strong> (Greece\/Gr\u00e8ce)<br \/>\nAcademic &amp; Critic<br \/>\nspats@enl.auth.gr<\/p>\n<hr \/>\n<h4 style=\"text-align: center;\"><strong>Executive Editor<\/strong><\/h4>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"920\" data-permalink=\"https:\/\/www.critical-stages.org\/14\/editorial-board\/jenkins\/\" data-orig-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/10\/Jenkins.jpg\" data-orig-size=\"140,198\" 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=\"Jenkins\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/10\/Jenkins.jpg\" class=\"alignnone size-full wp-image-920\" src=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/10\/Jenkins.jpg\" alt=\"\" width=\"140\" height=\"198\" \/><br \/>\n<strong>Jeffrey Eric Jenkins<\/strong> (USA\/\u00c9tats-Unis)<br \/>\nAcademic &amp; Critic<br \/>\neditor@bestplays.org<\/p>\n<hr \/>\n<h4 style=\"text-align: center;\"><strong>Managing Editor<\/strong><\/h4>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"598\" data-permalink=\"https:\/\/www.critical-stages.org\/14\/nouveaute-attentes-et-risque\/1-teatro-olimpico-de-sabbioneta-italie\/\" data-orig-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/12\/1.Teatro-Olimpico-de-Sabbioneta-Italie.jpeg\" data-orig-size=\"700,466\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;NIGEL VOAK&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;NIGEL VOAK&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=\"1-teatro-olimpico-de-sabbioneta-italie\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Teatro Olimpico de Sabbioneta (Italie)&lt;\/p&gt;\n\" data-large-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/12\/1.Teatro-Olimpico-de-Sabbioneta-Italie.jpeg\" class=\"alignnone wp-image-598\" src=\"https:\/\/www.critical-stages.org\/12\/wp-content\/uploads\/sites\/2\/2015\/12\/Author-Don-Rubin-YU-Performed-Imaginaries-and-The-Kwagh-Hir-Review.jpg\" width=\"140\" height=\"210\" \/><br \/>\n<strong>Don Rubin<\/strong> (Canada)<br \/>\nAcademic &amp; Critic<br \/>\ndrubin@yorku.ca<\/p>\n<hr \/>\n<h4 style=\"text-align: center;\"><strong>Language Editors\u00a0(and Board Members)<\/strong><\/h4>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-245\" src=\"https:\/\/www.critical-stages.org\/12\/wp-content\/uploads\/sites\/2\/2015\/12\/Lissa-RenaudHeadshotCS12.jpg\" width=\"140\" height=\"166\" \/><br \/>\n<strong>Lissa Tyler Renaud<\/strong> (USA\/\u00c9tats-Unis)<br \/>\nDirector, Critic, Scholar<br \/>\nltrenaud@gmail.com<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-617\" src=\"https:\/\/www.critical-stages.org\/12\/wp-content\/uploads\/sites\/2\/2015\/12\/vais.jpg\" alt=\"\" width=\"140\" height=\"188\" \/><br \/>\n<strong>Michel Va\u00efs<\/strong> (Quebec, Canada)<br \/>\nCritic &amp; Scholar<br \/>\nmichelninovais@gmail.com<\/p>\n<hr \/>\n<h4 style=\"text-align: center;\"><strong>BOARD MEMBERS<\/strong><\/h4>\n<table class=\"editors\" style=\"height: 2182px;\" width=\"754\">\n<tbody>\n<tr>\n<td align=\"center\" width=\"350\"><strong><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-604\" src=\"https:\/\/www.critical-stages.org\/12\/wp-content\/uploads\/sites\/2\/2015\/12\/GUAY2.jpg\" alt=\"\" width=\"140\" height=\"188\" \/><br \/>\nHerv\u00e9 Guay<\/strong> (Quebec, Canada)<br \/>\nAcademic &amp; Critic<br \/>\nherve.guay@gmail.com<\/td>\n<td align=\"center\" width=\"350\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-607\" src=\"https:\/\/www.critical-stages.org\/12\/wp-content\/uploads\/sites\/2\/2015\/12\/Manabu_Noda.jpg\" alt=\"\" width=\"140\" height=\"188\" \/><br \/>\n<strong>Manabu Noda<\/strong> (Japan\/Japon)<br \/>\nAcademic &amp; Critic<br \/>\nmanabunoda1963@hotmail.co.jp<\/td>\n<\/tr>\n<tr>\n<td align=\"center\" width=\"350\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"600\" data-permalink=\"https:\/\/www.critical-stages.org\/14\/nouveaute-attentes-et-risque\/3-lepage\/\" data-orig-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/12\/3.-LEPAGE.jpeg\" data-orig-size=\"700,393\" 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=\"3-lepage\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Rebert Lepage&lt;\/p&gt;\n\" data-large-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/12\/3.-LEPAGE.jpeg\" class=\"alignnone wp-image-600\" src=\"https:\/\/www.critical-stages.org\/12\/wp-content\/uploads\/sites\/2\/2015\/12\/1197068675.jpg\" width=\"140\" height=\"186\" \/><br \/>\nJean Pierre Han<\/strong> (France)<br \/>\nCritic<br \/>\njp.han@free.fr<\/td>\n<td align=\"center\" width=\"350\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-603\" src=\"https:\/\/www.critical-stages.org\/12\/wp-content\/uploads\/sites\/2\/2015\/12\/FEMI-X.jpg\" alt=\"\" width=\"140\" height=\"187\" \/><br \/>\n<strong>Femi Osofisan<\/strong> (Nigeria)<br \/>\nAcademic &amp; Playwright<br \/>\nokinbalaunko@yahoo.com<\/td>\n<\/tr>\n<tr>\n<td align=\"center\" width=\"350\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-614\" src=\"https:\/\/www.critical-stages.org\/12\/wp-content\/uploads\/sites\/2\/2015\/12\/Portrat-09.jpg\" alt=\"\" width=\"140\" height=\"186\" \/><br \/>\n<strong>Thomas Irmer<\/strong> (Germany\/Allemagne)<br \/>\nAcademic &amp; Critic<br \/>\ntrirmer@aol.com<\/td>\n<td align=\"center\" width=\"350\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-621\" src=\"https:\/\/www.critical-stages.org\/12\/wp-content\/uploads\/sites\/2\/2015\/12\/aLudmila-Patlanjoglu-8x6-1.jpg\" alt=\"\" width=\"140\" height=\"186\" \/><br \/>\n<strong>Ludmila Pantlanjoglou<\/strong> (Romania\/Roumanie)<br \/>\nAcademic &amp; Critic<br \/>\nludmilaromania@hotmail.com<\/td>\n<\/tr>\n<tr>\n<td align=\"center\" width=\"350\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"618\" data-permalink=\"https:\/\/www.critical-stages.org\/14\/the-sky-the-night-and-the-glorious-male-voices\/must-go-on-hd-c-thierry-laporte\/\" data-orig-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Must-Go-On-HD-c-Thierry-Laporte.jpg\" data-orig-size=\"400,600\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;2.8&quot;,&quot;credit&quot;:&quot;Thierry Laporte&quot;,&quot;camera&quot;:&quot;NIKON D4&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1334119496&quot;,&quot;copyright&quot;:&quot;Thierry Laporte&quot;,&quot;focal_length&quot;:&quot;52&quot;,&quot;iso&quot;:&quot;6400&quot;,&quot;shutter_speed&quot;:&quot;0.005&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"must-go-on-hd-c-thierry-laporte\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Scene from the production Must Go On, adapted and directed by Nathalie Fillion, 2016&lt;\/p&gt;\n\" data-large-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/Must-Go-On-HD-c-Thierry-Laporte.jpg\" class=\"alignnone size-full wp-image-618\" src=\"https:\/\/www.critical-stages.org\/12\/wp-content\/uploads\/sites\/2\/2015\/12\/Yun-Cheol_Kim.jpg\" alt=\"\" width=\"140\" height=\"180\" \/><br \/>\n<strong>Yun Cheol Kim <\/strong>(S. Korea\/Cor\u00e9e du Sud)<br \/>\nAcademic &amp; Critic<br \/>\nyckim3027@gmail.com<\/td>\n<td align=\"center\" width=\"350\"><img loading=\"lazy\" decoding=\"async\" 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\" class=\"alignnone size-full wp-image-613\" src=\"https:\/\/www.critical-stages.org\/12\/wp-content\/uploads\/sites\/2\/2015\/12\/Patrice_Pavis.jpg\" alt=\"\" width=\"140\" height=\"188\" \/><br \/>\n<strong>Patrice Pavis<\/strong> (France)<br \/>\nAcademic &amp; Critic<br \/>\npatricepavis@hotmail.com<\/td>\n<\/tr>\n<tr>\n<td align=\"center\" width=\"350\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-610\" src=\"https:\/\/www.critical-stages.org\/12\/wp-content\/uploads\/sites\/2\/2015\/12\/Matti_Linnavuori.jpg\" alt=\"\" width=\"140\" height=\"188\" \/><br \/>\n<strong>Matti Linnavuori<\/strong> (Finland\/Finlande)<br \/>\nCritic<br \/>\nmatti.linnavuori@welho.org<\/td>\n<td align=\"center\" width=\"350\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"608\" data-permalink=\"https:\/\/www.critical-stages.org\/14\/prof-erika-fischer-lichtes-laudatory-speech-for-femi-osofisan\/1-bitef-talija-award-20\/\" data-orig-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/1.Bitef-Talija-award-20.jpg\" data-orig-size=\"1200,750\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;GORKI&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1474991288&quot;,&quot;copyright&quot;:&quot;Goran Zlatkovic&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=\"1-bitef-talija-award-20\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Bief, Thalia award. Photo: \u00a0Goran Zlatkovi\u0107&lt;\/p&gt;\n\" data-large-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/11\/1.Bitef-Talija-award-20-1024x640.jpg\" class=\"alignnone size-full wp-image-608\" src=\"https:\/\/www.critical-stages.org\/12\/wp-content\/uploads\/sites\/2\/2015\/12\/Maria_Shevtsova.jpg\" alt=\"\" width=\"140\" height=\"184\" \/><br \/>\n<strong>Maria Shevtsova<\/strong> (England\/Angleterre)<br \/>\nAcademic &amp; Critic<br \/>\nm.shevtsova@gold.ac.uk<\/td>\n<\/tr>\n<tr>\n<td align=\"center\" width=\"350\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"611\" data-permalink=\"https:\/\/www.critical-stages.org\/14\/la-mouette-et-son-double-sous-un-nouveau-regard\/photo-1-the-seagull_ntc-korea_photo-by-jang-sung-yong-1\/\" data-orig-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/12\/PHOTO-1-The-Seagull_NTC-Korea_Photo-by-Jang-Sung-yong-1.jpg\" data-orig-size=\"700,466\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;2.8&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;Canon EOS 5D&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1464906452&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;52&quot;,&quot;iso&quot;:&quot;3200&quot;,&quot;shutter_speed&quot;:&quot;0.02&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"photo-1-the-seagull_ntc-korea_photo-by-jang-sung-yong-1\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Konstantin (Gi-soo Gim) lisant son texte tandis que les autres jouent au loto. Photo\u00a0: Jang Sung-yong&lt;\/p&gt;\n\" data-large-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/12\/PHOTO-1-The-Seagull_NTC-Korea_Photo-by-Jang-Sung-yong-1.jpg\" class=\"alignnone size-full wp-image-611\" src=\"https:\/\/www.critical-stages.org\/12\/wp-content\/uploads\/sites\/2\/2015\/12\/Medenica-1.jpg\" alt=\"\" width=\"140\" height=\"182\" \/><br \/>\nIvan Medenica<\/strong> (Serbia\/Serbie)<br \/>\nAcademic &amp; Critic<br \/>\nvan.medenica@gmail.com<\/td>\n<td align=\"center\" width=\"350\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-605\" src=\"https:\/\/www.critical-stages.org\/12\/wp-content\/uploads\/sites\/2\/2015\/12\/Halima_Tahan.jpg\" alt=\"\" width=\"140\" height=\"176\" \/><br \/>\n<strong>Halima Tahan Ferreyra<\/strong> (Argentina\/Argentine)<br \/>\nCritic<br \/>\nrevistateatroalsur@yahoo.com.ar<\/td>\n<\/tr>\n<tr>\n<td align=\"center\" width=\"350\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"612\" data-permalink=\"https:\/\/www.critical-stages.org\/14\/la-mouette-et-son-double-sous-un-nouveau-regard\/photo-2-the-seagull_ntc-korea_photo-by-jang-sung-yong-2\/\" data-orig-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/12\/PHOTO-2-The-Seagull_NTC-Korea_Photo-by-Jang-Sung-yong-2.jpg\" data-orig-size=\"700,466\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;2.8&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;Canon EOS 5D&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1464814276&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;46&quot;,&quot;iso&quot;:&quot;1600&quot;,&quot;shutter_speed&quot;:&quot;0.00625&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"photo-2-the-seagull_ntc-korea_photo-by-jang-sung-yong-2\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Arkadina (Hye-young Lee) se regardant dans le miroir. Photo\u00a0: Jang Sung-yong&lt;\/p&gt;\n\" data-large-file=\"https:\/\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/12\/PHOTO-2-The-Seagull_NTC-Korea_Photo-by-Jang-Sung-yong-2.jpg\" class=\"alignnone size-full wp-image-612\" src=\"https:\/\/www.critical-stages.org\/12\/wp-content\/uploads\/sites\/2\/2015\/12\/Meersman.jpg\" alt=\"\" width=\"140\" height=\"193\" \/><br \/>\nBrent Meersman<\/strong> (S. Africa\/Afrique du Sud)<br \/>\nCritic &amp; Writer<br \/>\nmeersman@iafrica.com<\/td>\n<td align=\"center\" width=\"350\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-616\" src=\"https:\/\/www.critical-stages.org\/12\/wp-content\/uploads\/sites\/2\/2015\/12\/Tomasz_Milkowski.jpg\" alt=\"\" width=\"140\" height=\"183\" \/><br \/>\n<strong>Tomasz Milkowski<\/strong> (Poland\/Pologne)<br \/>\nCritic<br \/>\ntomasz.milkowski@gmail.com<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":"<p>Editor-in-chief Savas Patsalidis (Greece\/Gr\u00e8ce) Academic &amp; Critic spats@enl.auth.gr Executive Editor Jeffrey Eric Jenkins (USA\/\u00c9tats-Unis) Academic &amp; Critic editor@bestplays.org Managing Editor Don Rubin (Canada) Academic &amp; Critic drubin@yorku.ca Language Editors\u00a0(and Board Members) Lissa Tyler Renaud (USA\/\u00c9tats-Unis) Director, Critic, Scholar ltrenaud@gmail.com Michel<\/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-7","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P83Osv-7","jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/14\/wp-json\/wp\/v2\/pages\/7","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=7"}],"version-history":[{"count":1,"href":"https:\/\/www.critical-stages.org\/14\/wp-json\/wp\/v2\/pages\/7\/revisions"}],"predecessor-version":[{"id":1151,"href":"https:\/\/www.critical-stages.org\/14\/wp-json\/wp\/v2\/pages\/7\/revisions\/1151"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/14\/wp-json\/wp\/v2\/media?parent=7"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}