{"id":891,"date":"2017-06-25T17:50:20","date_gmt":"2017-06-25T17:50:20","guid":{"rendered":"https:\/\/www.critical-stages.org\/15\/?page_id=891"},"modified":"2019-06-18T14:53:36","modified_gmt":"2019-06-18T14:53:36","slug":"contents-new","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/15\/","title":{"rendered":"Table of Contents"},"content":{"rendered":"

Table of Contents<\/h3>\n

Editorial<\/a>\u00a0\/\u00a0\u00c9ditorial<\/a>
\nSavas Patsalidis (editor-in-chief)<\/p>\n

\n

Special Topic: Contemporary African Drama and Theatre<\/span><\/a><\/h4>\n

Guest Editors: Femi Osofisan<\/strong> (Nigeria), Tejumola Olaniyan\u00a0<\/strong>(USA),\u00a0Don Rubin\u00a0<\/strong>(Canada)<\/p>\n

\"\"<\/a>\n

African Theatre in a Global Context[1]<\/sup><\/a><\/p>\n

by Don Rubin<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Anglophone Africa\u2014Looking Back: The Beginnings of the Modern<\/a><\/p>\n

by Hansel Ndumbe Eyoh<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

The Roots of African Theatre Ritual and Orality in the Pre-Colonial Period<\/a><\/p>\n

by Ousmane Diakhat\u00e9 and Hansel Ndumbe Eyoh<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

French Language Theatre in Africa: Connecting to the Francophonie<\/a><\/p>\n

by Ousmane Diakhat\u00e9<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

South Africa\u2014Theatre Lost, Performance Found?<\/a><\/p>\n

by Loren Kruger<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

South Africa\u2014Towards Collective Action: Improvised Performance Jozi Style<\/a><\/p>\n

by Sarah Roberts and Kieran Reid<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Nigeria\u2014Revisiting Language in Two Wole Soyinka Plays<\/a><\/p>\n

by Dele Layiwola<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Uganda\u2014From Research to Activism: Theatre and Anthropology in Walukuba<\/a><\/p>\n

by Katie McQuaid and Jane Plastow<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Nigeria\u2014The Challenge of (and for) the Female Playwright<\/a><\/p>\n

by Onyeka Iwuchukwu<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

In Search of Theatre for Development in Malawi: a Modern History<\/a><\/p>\n

by Zindaba Chisiza<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Egypt\u2014Subversive Theology in Nawal El Saadawi\u2019s Quest for Justice<\/a><\/p>\n

by Omolola A. Ladele<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n
\n

Essays – Michael Chekhov: Pedagogy Today<\/span><\/a><\/h4>\n

Guest Editor: Yana Meerzon<\/strong> (Canada)<\/p>\n

\"\"<\/a>\n

The Art of Michael Chekhov\u2019s Chart: A Training Sequence for Contemporary Practice in Professional Studios and Academia<\/a><\/p>\n

by Lisa Dalton<\/a>, Essays<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Performing in Mask: Michael Chekhov\u2019s Pedagogy, Commedia<\/em> and Mime<\/a><\/p>\n

by Lenka Pichl\u00edkov\u00e1<\/a>, Essays<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

ImageWork Training<\/em> and the Chekhov Technique<\/a><\/p>\n

by David Zinder<\/a>, Essays<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Musical Synthesis of the Michael Chekhov Technique: Integrated Training for the Singer \u2013 Actor<\/a><\/p>\n

by James Haffner<\/a>, Essays<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Gestures of Listening<\/a><\/p>\n

by Ulrich Meyer-Horsch<\/a>, Essays<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Presence<\/em>, Significance<\/em> and Radiation<\/em> in Acting: Creating the Psychophysical Foundation for Working on Chekhov\u2019s Atmospheres[1]<\/sup><\/a><\/p>\n

by Sol Garre<\/a>, Essays<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n
\n

Conference Papers – Theatre, Criticism, and Politics: Where Are the Limits?<\/span><\/a><\/h4>\n

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

\"\"<\/a>\n

The Shadow Theatre of Theatre Criticism<\/a><\/p>\n

by Margareta S\u00f6renson<\/a>, Conference Papers<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Politics of Theatre and the Theatre of Politics in Nigeria<\/a><\/p>\n

by Olu Obafemi<\/a>, Conference Papers<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

The Bourgeois Theatre and Its Criticism: From Emancipation to Decadence and Back<\/a><\/p>\n

by Ivan Medenica<\/a>, Conference Papers<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n
\n

Interviews<\/span><\/a><\/h4>\n

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

\"\"<\/a>\n

Workshopping the Refugee Condition: Interview with Anina Jendreyko<\/a><\/p>\n

by Katerina Delikonstantinidou<\/a>, Interviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Comment capter et traduire le r\u00e9el sur sc\u00e8ne: Chroniques de la soci\u00e9t\u00e9 cubaine: Entretien avec Abel Gonzalez Melo<\/a><\/p>\n

by Ir\u00e8ne Sadowska<\/a>, Interviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

L\u2019Ombre de Venceslao ou une \u00e9pop\u00e9e argentine: Entretien avec Jorge Lavelli<\/a><\/p>\n

by Ir\u00e8ne Sadowska<\/a>, Interviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

“Better Days for Ugandan Theatre”: Interview with Asiimwe Deborah GKashugi<\/a><\/p>\n

by Andrew Kaggwa<\/a>, Interviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

The Artist in Times of Crisis: Interview with Theodoros Terzopoulos<\/a><\/p>\n

by Penelope Chatzidimitriou<\/a>, Interviews<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n
\n

Performance Reviews<\/span><\/a><\/h4>\n

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

\"\"<\/a>\n

Les Fran\u00e7ais<\/em> : Warlikowski, agitateur de la d\u00e9cadence<\/a><\/p>\n

by Mathias Daval<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Le th\u00e9\u00e2tre comme carte de la m\u00e9moire<\/a><\/p>\n

by Ir\u00e8ne Sadowska<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Fr\u00e9n\u00e9tique Afrique !<\/a><\/p>\n

by Christiane Makward<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

How Southern Dialects Convey the Sense of Theatre in Italy<\/a><\/p>\n

by Claudia Provvedini<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

The Present Meaning of “Stranger” Revealed in Cluj<\/a><\/p>\n

by Maria Z\u0103rnescu<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

The Sins of the Parents: Several Characters in Search of an Author<\/a><\/p>\n

by Soila Lehtonen<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Un formidable retour aux sources<\/a><\/p>\n

by Jean-Pierre Han<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Un th\u00e9\u00e2tre de l\u2019exc\u00e8s<\/a><\/p>\n

by Selim Lander<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Ancient Meets Cutting Edge: China\u2019s Wuzhen Theatre Festival<\/a><\/p>\n

by Lissa Tyler Renaud<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Into the Intricacies of Memory: Journey into Strelitzia<\/a><\/p>\n

by Mosunmola Omowunmi Adeojo<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Hold Up That Mirror And Preen: South African Solo Theatre At Its Finest<\/a><\/p>\n

by Robyn Sassen<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

And the Rest is Silence<\/a><\/p>\n

by Margareta S\u00f6renson<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n
\n

Book Reviews<\/span><\/a><\/h4>\n

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

\"\"<\/a>\n

The Routledge Dictionary of Performance and Contemporary Theatre<\/a><\/p>\n

Author: Patrice Pavis; Reviewer: Philippe Rouyer<\/a>, Book Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

The Methuen Drama Guide to Contemporary South African Theatre<\/a><\/p>\n

Author: Martin Middeke<\/a>, Book Reviews<\/a>, Peter Paul Schnierer and Greg Homann; Reviewer: Temple Hauptfleisch<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Inside\/Outside: Six Plays from Palestine and the Diaspora<\/a><\/p>\n

Author: Ismail Khalidi and Naomi Wallace; Reviewer: Marjan Moosavi<\/a>, Book Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

How To Write About Theatre: A Manual for Critics, Students and Bloggers<\/a><\/p>\n

Author: Mark Fisher; Reviewer: Don Rubin<\/a>, Book Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

One Man Dancing<\/a><\/p>\n

Author: Patricia Keeney; Reviewer: Octavian Saiu<\/a>, Book Reviews<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n
\n

Critics on Criticism<\/span><\/a><\/h4>\n

Section Editor: Diana Damian Martin<\/strong> (UK)<\/p>\n

\"\"<\/a>\n

Criticism in a Time of Crisis<\/a><\/p>\n

by Sam Williams<\/a>, Critics on Criticism<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

Table of Contents Editorial\u00a0\/\u00a0\u00c9ditorial Savas Patsalidis (editor-in-chief) Special Topic: Contemporary African Drama and Theatre Guest Editors: Femi Osofisan (Nigeria), Tejumola Olaniyan\u00a0(USA),\u00a0Don Rubin\u00a0(Canada) Essays – Michael Chekhov: Pedagogy Today Guest Editor: Yana Meerzon (Canada) Conference Papers – Theatre, Criticism, and Politics:<\/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-891","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P8ugAy-en","jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/15\/wp-json\/wp\/v2\/pages\/891","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/15\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/15\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/15\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/15\/wp-json\/wp\/v2\/comments?post=891"}],"version-history":[{"count":1,"href":"https:\/\/www.critical-stages.org\/15\/wp-json\/wp\/v2\/pages\/891\/revisions"}],"predecessor-version":[{"id":1204,"href":"https:\/\/www.critical-stages.org\/15\/wp-json\/wp\/v2\/pages\/891\/revisions\/1204"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/15\/wp-json\/wp\/v2\/media?parent=891"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}