{"id":34,"date":"2017-09-30T14:10:15","date_gmt":"2017-09-30T14:10:15","guid":{"rendered":"https:\/\/www.critical-stages.org\/16\/?page_id=34"},"modified":"2017-11-15T19:33:25","modified_gmt":"2017-11-15T19:33:25","slug":"performance-reviews","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/16\/performance-reviews\/","title":{"rendered":"Performance Reviews"},"content":{"rendered":"

Section Editor:\u00a0Matti Linnavuori\u00a0<\/strong>(Finland)<\/p>\n

\"OLYMPUS<\/p>\n

Matti Linnavuori<\/strong>\u00a0wrote 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\u00a0Ta mig till er ledare (<\/em>Take me to your leader<\/em>) premiered at Lilla Teatern in Helsinki.<\/p>\n

\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","protected":false},"excerpt":{"rendered":"

Section Editor:\u00a0Matti Linnavuori\u00a0(Finland) Matti Linnavuori\u00a0wrote 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<\/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-34","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P9iUM2-y","jetpack_likes_enabled":false,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/pages\/34","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=34"}],"version-history":[{"count":0,"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/pages\/34\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/media?parent=34"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}