{"id":24,"date":"2017-09-30T14:07:02","date_gmt":"2017-09-30T14:07:02","guid":{"rendered":"https:\/\/www.critical-stages.org\/16\/?page_id=24"},"modified":"2019-06-18T14:51:28","modified_gmt":"2019-06-18T14:51:28","slug":"contents","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/16\/","title":{"rendered":"Contents"},"content":{"rendered":"

Table of Contents<\/h3>\n

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

\n

Special Topic: Sound\/Theatre: Sound in Performance<\/span><\/a><\/h4>\n

Guest Editor: Johannes Birringer<\/b><\/p>\n

<\/a>\u00a0Ensounded: An Introduction<\/strong><\/a><\/p>\n

\"\"<\/a>\n

Espaces musicaux pour Marie NDiaye<\/a><\/p>\n

by Christiane Makward<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Tangible User Interfaces in Vocal Performance: The Sounding Body as Digital Assemblage<\/a><\/p>\n

by Gretchen Jude<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

The Collective Sonic Body<\/a><\/p>\n

by Isabelle Choini\u00e8re<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Aural Choreography as Composed Performance<\/a><\/p>\n

by Fabrizio Manco<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Sound in Motion: Bill T. Jones Repurposes John Cage<\/a><\/p>\n

by Ariel Nereson<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

The Rush of Real World Sound: Acoustic Ecologies of Independent Theatre in Melbourne<\/a><\/p>\n

by Chris Wenn<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Staging Listening: Corporeal Dimensions of New Music in Choreographies by Xavier Le Roy<\/a><\/p>\n

by Stephanie Schroedter<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

To Act by Singing<\/a><\/p>\n

by Valentina Valentini<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Soundscapes of Narco Silence in U.S.-Mexico Borderlands Performance<\/a><\/p>\n

by Marci R. McMahon<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Performing the Politics of Sound: Affective Mobilization and the Objectivity of Sonic Energy on the Human Body<\/a><\/p>\n

by Lambros Pigounis<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Sounding Out a Theatrical Text: Fool for Love<\/em> by Sam Shepard<\/a><\/p>\n

by Caroline Schlenker & Rebecca Guy<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n
\n

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

Section Editor:\u00a0Yun-Cheol Kim<\/strong>\u00a0(S. Korea)<\/p>\n

\"\"<\/a>\n

The Indian Potpourri<\/a><\/p>\n

by Ajay Joshi<\/a>, Essays<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Caribbean Memories of Derek Walcott<\/a><\/p>\n

by Adrian Augier<\/a>, Essays<\/a>, MacDonald Dixon<\/a>, Rawle Gibbons<\/a>, Tony Hall<\/a>, Travis Weekes<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Marionnette d\u2019aujourd\u2019hui : Espace changeant \u2013 corps changeant \u2013 esprit changeant<\/a><\/p>\n

by Irina Antonova<\/a>, Essays<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n
\n

National Reports<\/span><\/a><\/h4>\n

Section Editor: Savas Patsalidis<\/b> (Greece)<\/p>\n

\"\"<\/a>\n

Israeli Theatre in 2017: Visions of a Cleft Heart<\/a><\/p>\n

by Shai Bar Yaacov<\/a>, National Reports<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

From Rising to Riot: Irish Theatre\u2019s Retrofuture<\/a><\/p>\n

by Brian Singleton<\/a>, National Reports<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

English-Canadian Theatre: Embracing a Country’s Diversity<\/a><\/p>\n

by Martin Morrow<\/a>, National Reports<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Navigating the Theatre Ecology in Hong Kong: Perspectives of a Singaporean<\/a><\/p>\n

by Benny Lim<\/a>, National Reports<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

A View from the South: A Cursory Glance at Some Events of the Argentinian Theatrical Landscape<\/a><\/p>\n

by Halima Tahan Ferreyra<\/a>, National Reports<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Chilean Theatre Season 2017<\/a><\/p>\n

by Milena Grass Kleiner<\/a>, National Reports<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Theatre in Serbia Today<\/a><\/p>\n

by Aleksandar Milosavljevi\u0107<\/a>, National Reports<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Greece on Stage<\/a><\/p>\n

by Irene Moundraki<\/a>, National Reports<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n
\n

Conference Papers: Theatre and Populism<\/span><\/a><\/h4>\n

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

\"\"<\/a>\n

The End(s) of Freedom: Populism, Theatre, Identity<\/a><\/p>\n

by Jeffrey Eric Jenkins<\/a>, Conference Papers<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Populisme ou d\u00e9magogie ? La situation du th\u00e9\u00e2tre en France<\/a><\/p>\n

by Christine Hamon-Sirejols<\/a>, Conference Papers<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n
\n

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

Section Editor: Savas Patsalidis<\/b> (Greece)<\/p>\n

\"\"<\/a>\n

The Road to Stellenbosch: Interview with Athol Fugard<\/a><\/p>\n

by Temple Hauptfleisch<\/a>, Interviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Touching\/Crossing the Border: Interview with Kamila Klamut and Ewa Pasikowska (Teatr Zar)<\/a><\/p>\n

by Tina Peric<\/a>, Interviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

About Monodrama Festivals and Other Matters: Interview with Kurt Egelhof<\/a><\/p>\n

by Olga Pozeli<\/a>, Interviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

\u00c9crire au-del\u00e0 de la langue: Entretien avec Jean-Luc Raharimanana<\/a><\/p>\n

by Alvina Ruprecht<\/a>, Interviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Le th\u00e9\u00e2tre espagnol au Japon : Entretien avec Yoichi Tajiri, traducteur du th\u00e9\u00e2tre espagnol et dramaturge de la compagnie Ksec Act<\/a><\/p>\n

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

Trente ans du Prix Europe pour le th\u00e9\u00e2tre : Entrevue avec Alessandro Martinez<\/a><\/p>\n

by Jean-Pierre Han and Michel Va\u00efs<\/a>, Interviews<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n
\n

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

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

\"\"<\/a>\n

Un utopiste m\u00e9tamorphos\u00e9 en tyran<\/a><\/p>\n

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

Re-conna\u00eetre Solitude de Guadeloupe<\/a><\/p>\n

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

Czech Theatre Holds Up Well Against Some Mixed International Competition<\/a><\/p>\n

by Ian Herbert<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

The Universal Balancing Act<\/a><\/p>\n

by Patricia Keeney<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

\u00d3pera<\/em>, an Ironic Approach to Tradition<\/a><\/p>\n

by Fabi\u00e1n Escalona<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Scenes from Norway\u2019s Heddadagene<\/em> Theatre Festival<\/a><\/p>\n

by Eylem Ejder<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

When Everyone Talks About Humanity, I Want To Talk About Morality<\/a><\/p>\n

by Jason Zhou<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

The Trees Will Remain; We Won\u2019t<\/a><\/p>\n

by Matti Linnavuori<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Les Bonnes<\/em> en Avignon \u2013 une question de genres<\/a><\/p>\n

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

Tasting Postcolonial Hong Kong in the Theatre*<\/a><\/p>\n

by Yan Liang<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Life and Death\u2014in the Mirror<\/a><\/p>\n

by Ludmila Patlanjoglu<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

An Attempt to Dissect the Mosaic Body of the Dimitria Festival<\/a><\/p>\n

by Aikaterini Delikonstantinidou<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

A Bystander to the Darkness of Evil<\/a><\/p>\n

by Raymond Zhou<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n
\n

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

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

\"\"<\/a>\n

Theatre Criticism: Changing Landscapes<\/a><\/p>\n

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

Noted By the Editor*<\/em>: The Routledge Companion to Michael Chekhov<\/a><\/p>\n

Book Reviews<\/a>, by Don Rubin<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

The Robben Island Shakespeare<\/a><\/p>\n

Book Reviews<\/a>, by Patricia Keeney<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Double Exposure: Plays of the Jewish and Palestinian Diasporas<\/a><\/p>\n

Book Reviews<\/a>, by Mary-Lou Zeitoun<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

La escena del siglo XXI (La sc\u00e8ne du XXIe si\u00e8cle\/The 21st Century Stage)<\/a><\/p>\n

Book Reviews<\/a>, par Ir\u00e8ne Sadowska-Guillon<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

Table of Contents Editorial Note | \u00c9ditorial Savas Patsalidis (editor-in-chief) Special Topic: Sound\/Theatre: Sound in Performance Guest Editor: Johannes Birringer \u00a0Ensounded: An Introduction Essays Section Editor:\u00a0Yun-Cheol Kim\u00a0(S. Korea) National Reports Section Editor: Savas Patsalidis (Greece) Conference Papers: Theatre and Populism<\/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-24","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P9iUM2-o","jetpack_likes_enabled":false,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/pages\/24","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/comments?post=24"}],"version-history":[{"count":2,"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/pages\/24\/revisions"}],"predecessor-version":[{"id":1152,"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/pages\/24\/revisions\/1152"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/media?parent=24"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}