{"id":716,"date":"2017-11-16T16:37:56","date_gmt":"2017-11-16T16:37:56","guid":{"rendered":"https:\/\/www.critical-stages.org\/16\/?p=716"},"modified":"2022-02-28T21:03:26","modified_gmt":"2022-02-28T21:03:26","slug":"an-attempt-to-dissect-the-mosaic-body-of-the-dimitria-festival","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/16\/an-attempt-to-dissect-the-mosaic-body-of-the-dimitria-festival\/","title":{"rendered":"An Attempt to Dissect the Mosaic Body of the Dimitria Festival"},"content":{"rendered":"<p><strong>Aikaterini Delikonstantinidou<a href=\"#end\">*<\/a><\/strong><\/p>\n<p>Dimitria Festival, Thessaloniki, October 2017<\/p>\n<p>The historical trajectory of the Dimitria Festival, with its origins dating back to the Byzantine era, is impressive, to say the least. The Festival was officially re-established in 1966 and has since etched deep traces in Thessaloniki\u2019s fabric. Widely acknowledged as Thessaloniki\u2019s cultural arch-event and as one of the foremost historic institutions of Greece, the Dimitria Festival has been functioning for the past five decades as much more than a platform for cultural events serving the purpose of expanding Greece\u2019s and Thessaloniki\u2019s cultural visibility.<\/p>\n<h6>Video 1<\/h6>\n<div style=\"text-align: center; font-size: 12px;\" align=\"center\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/_GkNmnGP6lw?rel=0\" width=\"700\" height=\"393\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><br \/>\nPromotion video of the 52<sup>nd<\/sup> Dimitria Festival<\/div>\n<p>The variegated programme of this year\u2019s fifty-second edition attempted to make up for shortages in official backing measures. It included more than forty main events, not only theatre performances and performance art pieces, concerts, and visual arts installations, but also performing arts workshops, \u201cmasterclasses,\u201d and multimedia urban art projects. It was well-thought through and marked by a generous cosmopolitan impulse and hopeful outreach.<\/p>\n<h6>Video 2<\/h6>\n<div style=\"text-align: center; font-size: 12px;\" align=\"center\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/TVMSlDcM0oY?rel=0\" width=\"700\" height=\"393\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><br \/>\nRevolution in Art: a multimedia exhibition focusing on the Russian Revolution of 1917 and its impact on the Russian avant-garde<\/div>\n<p>(Theatre) cultures as seemingly dissimilar as the Bulgarian and the Chinese, the Hungarian and the Irish, the Romanian and the Iranian, the Russian and, of course, the Greek were included. Contact with all these different strands of the contemporary world stage was mind-expanding, while the performances representing them had several notable merits. Still, the impact of the performances among the festival\u2019s audiences varied, with some of them receiving a hearty response and others a reticent one. This was hardly unexpected given the sheer variety the events exhibited in their aesthetic and ideological approaches, as well as the very unfamiliarity of some of the theatrical traditions sampled by this year\u2019s edition. Four of them, which also seemed to unequivocally win their audiences, could be said to be truly captivating.<\/p>\n<figure id=\"attachment_718\" aria-describedby=\"caption-attachment-718\" style=\"width: 700px\" class=\"wp-caption aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"718\" data-permalink=\"https:\/\/www.critical-stages.org\/16\/an-attempt-to-dissect-the-mosaic-body-of-the-dimitria-festival\/photo-1-10\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/11\/Photo-1-5.jpg?fit=700%2C393&amp;ssl=1\" 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=\"Photo 1\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;From Israfil\u2019s Trumpet. The boy (Illia Nasrollahi) sitting wearily at the front. Behind him (right) his grandmother (Fatemeh Naghavi) and (left) his friend, the ex-soldier\/officer (Kazem Sayahi). Photo by Dimitria Festival&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/11\/Photo-1-5.jpg?fit=700%2C393&amp;ssl=1\" class=\"size-full wp-image-718\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/11\/Photo-1-5.jpg?resize=700%2C393&#038;ssl=1\" alt=\"\" width=\"700\" height=\"393\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/11\/Photo-1-5.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/11\/Photo-1-5.jpg?resize=300%2C168&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption id=\"caption-attachment-718\" class=\"wp-caption-text\">From <em>Israfil\u2019s Trumpet<\/em>. The boy (Illia Nasrollahi) sitting wearily at the front. Behind him (right) his grandmother (Fatemeh Naghavi) and (left) his friend, the ex-soldier\/officer (Kazem Sayahi). Photo by Dimitria Festival<\/figcaption><\/figure>\n<p>One such performance was the Iranian contribution, <em>Israfil\u2019s Trumpet<\/em>. Amer Mosafer and a troupe of six performers brought to the stage Siavash Pakrah\u2019s story about a war-torn city (really an \u201cevery city\u201d devastated by \u201cevery war\u201d) populated by quasi shadowy beings; the human leftovers of the ever present war. The nightmarish setting becomes the playground\u2014literally a merry-go-round stage propelled by stagehands in view of the audience\u2014of a young boy (Illia Nasrollahi) who is left by his mother (Maryam Naghibi) in the care of his grumpy paternal grandmother (Fatemeh Naghavi) and who has mysteriously donned a double identity (apparently he has taken on the identities of a pair of twin brothers). Much like the prophesized blow of Israfil\u2019s trumpet found in the Qur&#8217;an, to which the play\u2019s title alludes, the presence of the boy announces and brings about the metaphorical resurrection of the once dead on their feet residents of the unspecified city, but, alas, it proves unable to stave off their eventual \u201creal\u201d death.<\/p>\n<p>Despite some slight clich\u00e9s in the plot, some loose ends (such as the very double identity of the protagonist), a few turbulences pace-wise, and the several technical issues that popped up during the performance and sadly compromised some of its assets, <em>Israfil\u2019s Trumpet<\/em> was rewarding. The subdued yet compelling performances from all six performers (also including Bahar Katoozi as the mad woman, Kazem Sayahi as the ex-officer and Hosseini Nia as the priest), with that of the eight-year-old protagonist being a true gem, made for a heart-warming theatre experience.<\/p>\n<h6>Video 3<\/h6>\n<div style=\"text-align: center; font-size: 12px;\" align=\"center\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/bLsum2sxUjc?rel=0\" width=\"700\" height=\"393\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><br \/>\nOfficial trailer of dance theater performance &#8220;Moeder (Mother)&#8221; by Peeping Tom (2016)<\/div>\n<p>The performance of <em>Moeder <\/em>(or <em>Mother<\/em>), by the Belgian dance troupe\/collective Peeping Tom, founded by Gabriela Carizo and Franck Chartier, offered a fascinating family portrait (the second volume of a trilogy which also includes the earlier <em>Vader<\/em> and the forthcoming <em>Kind<\/em>), weaving together dance, music and theatre. Directed by Carrizo, and inspired by the death of her own mother, this piece is by many considered the highlight of the Festival\u2019s fifty-second edition, and with good reason.<\/p>\n<p><em>Moeder<\/em> could be described as a series of scenes mined from the realm of dreams (and nightmares). Each scene surreally dramatizes and choreographs fantasies, neuroses and fears occupying the grey zone between life and death, sanity and madness, entrapment and release, suffering and joy. Each weaves a thread, as much corporeal and sensorial as conceptual and spiritual, that eventually leads (back) to memory and\/of the mother figure in all of its archetypal import.\u00a0 Every element of the performance seems to plays tricks on the audience: performers, setting and scenic objects, and, importantly, sound. The maternity ward becomes a museum and the incubator a prison, the heart drawing on the wall starts bleeding, the sculpture transforms into a zither player, the coffee machine turns out to be a kleptomaniac\u2019s object of passionate sexual desire, sound is turned into a zooming device . . . In the course of the performance, the limits of the (im)possible are put to the test; insistently pushed against they are found quite slack.<\/p>\n<figure id=\"attachment_719\" aria-describedby=\"caption-attachment-719\" style=\"width: 700px\" class=\"wp-caption aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"719\" data-permalink=\"https:\/\/www.critical-stages.org\/16\/an-attempt-to-dissect-the-mosaic-body-of-the-dimitria-festival\/photo-2-10\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/11\/Photo-2-4.jpg?fit=700%2C436&amp;ssl=1\" data-orig-size=\"700,436\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;Puskel Zsolt&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 2\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;The Budapest-based troupe of Our Secrets on stage near the performance\u2019s end. Photo by Dimitria Festival&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/11\/Photo-2-4.jpg?fit=700%2C436&amp;ssl=1\" class=\"size-full wp-image-719\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/11\/Photo-2-4.jpg?resize=700%2C436&#038;ssl=1\" alt=\"\" width=\"700\" height=\"436\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/11\/Photo-2-4.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/11\/Photo-2-4.jpg?resize=300%2C187&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption id=\"caption-attachment-719\" class=\"wp-caption-text\">The Budapest-based troupe of <em>Our Secrets<\/em> on stage near the performance\u2019s end. Photo by Dimitria Festival<\/figcaption><\/figure>\n<p>Two more examples of performances that did credit to the festival were <em>Our Secrets<\/em>, by Hungary\u2019s leading theatre director B\u00e9la Pint\u00e9r (and Company), and <em>Sleep, Stella<\/em>, by the acclaimed Greek (film) director, Yiannis Economides.<\/p>\n<p>The former tapped into the 2006 German film, <em>The Lives of Others <\/em>(<em>Das Leben der Anderen<\/em>), with which it shares some plot elements and the theme of surveillance, classical and disco music, as well as Slavic folk music and dance, in order to compose a tragicomic, as much pathetic as hilarious, crudely realistic, or even grotesque, insight into the Hungarian society of the 1980s and its moral conflicts. The play\u2019s treatment of pedophilia and betrayal was as harrowing as it was revealing, and, as was to be expected, less cathartic than ambivalent. Friedenth\u00e1l Zolt\u00e1n was staggering in the role of the tormented pedophile, Istvan Balla Ban, while \u00c9va Enyedi and Ang\u00e9la Stefanovics offered heartbreaking performances as the children who get targeted by Istvan\u2019s abhorrent desire. Credit is also due to G\u00e1bor Pelva, Gy\u00f6rgy P\u00f3ta, Hella Roszik for providing the performance\u2019s colorful musical backcloth. A certain spineless quality in the performances of some of the cast\u2019s members aside, this was a largely successful event.<\/p>\n<figure id=\"attachment_720\" aria-describedby=\"caption-attachment-720\" style=\"width: 700px\" class=\"wp-caption aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"720\" data-permalink=\"https:\/\/www.critical-stages.org\/16\/an-attempt-to-dissect-the-mosaic-body-of-the-dimitria-festival\/photo-3-8\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/11\/Photo-3-4.jpg?fit=700%2C393&amp;ssl=1\" 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=\"Photo 3\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;From Sleep, Stella. Stella\u2019s siblings, (left) Anthi (Elli Trigou) and (right) Yorgos (Yannis Niarros). Photo by Dimitria Festival&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/11\/Photo-3-4.jpg?fit=700%2C393&amp;ssl=1\" class=\"size-full wp-image-720\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/11\/Photo-3-4.jpg?resize=700%2C393&#038;ssl=1\" alt=\"\" width=\"700\" height=\"393\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/11\/Photo-3-4.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/11\/Photo-3-4.jpg?resize=300%2C168&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption id=\"caption-attachment-720\" class=\"wp-caption-text\">From <em>Sleep, Stella<\/em>. Stella\u2019s siblings, (left) Anthi (Elli Trigou) and (right) Yorgos (Yannis Niarros). Photo by Dimitria Festival<\/figcaption><\/figure>\n<p>Finally, <em>Sleep, Stella<\/em>, a play as intense as its titular heroine (played by the talented Ioanna Kolliopoulou), seemed to have made a strong impression on the audiences of the Festival. The fact that many spectators watched the performance twice testifies to that. The play drew from the now classic work of Gregorios Xenopoulos\u2019 <em>Stella Violanti <\/em>(1909) to tell the story of the forbidden love of Stella, the daughter of an upwards mobile, ganglord-like, patriarch, Antonis Gerakaris (the exquisite Stathis Stamoulakos), with a still relatively unknown young actor, Marios Aggelis (Phillipos Christodoulou). With a script drafted according to the creative input of the eight-member cast during the rehearsal process, and with a performance based on the improvisation of the cast along certain given narrative lines as well as on their interaction with the audience, <em>Sleep, Stella<\/em> inspected the moral anatomy of the modern (\u201cnew\u201d) Greek middle-class society. At the end of the excruciating dissection there is only tragedy to be found. Intrafamilial altercations, triggered by Stella\u2019s decision to break off her engagement with the son of a powerful political family in order to be with Marios, escalate to the point of familial disintegration. The encounter between father and lover, orchestrated by the former, ends up with Marios leaving the room crawling in all fours under gunpoint. We get the sense that Antonis\u2019 gun is really targeting his own family. The metaphorical bullet hits his relationship with his beloved daughter, Stella, fatally injuring it.<\/p>\n<p>Moments before the \u201ccurtain falls\u201d the title\u2019s imperative seems like a humane act of kindness, tender in its roughness\u2014as all tragedy should be. The last (second) performance received a standing ovation by a large part of the audience. An acute sense of melancholy sarcasm and the oddly liberating act of laughing yourself to tears were gains to be reaped from <em>Sleep, Stella<\/em>.<\/p>\n<p>Although its materialization takes place in anything but favorable conditions in the course of the past decade, in view of Greece\u2019s financial crisis and its reverberations throughout all of the country\u2019s spheres of activity, the Dimitria Festival still enables an encounter between the audiences of Thessaloniki and the international performing arts scene that is to be treasured, not least because it is so hard to find under the circumstances. For that very reason, it would not be an exaggeration to claim that we need the institution of the Dimitria, now more than ever, as an index with which to gauge the vim and vigor of the community that feeds into and off the Festival, locally (Thessaloniki) and more broadly (Greece). But, if I may add, we need it to be even better and, certainly, more efficient administration-wise.<a name=\"end\"><\/a><\/p>\n<hr \/>\n<p><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"717\" data-permalink=\"https:\/\/www.critical-stages.org\/16\/an-attempt-to-dissect-the-mosaic-body-of-the-dimitria-festival\/me\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/11\/Me.jpg?fit=300%2C300&amp;ssl=1\" data-orig-size=\"300,300\" 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=\"Me\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/11\/Me.jpg?fit=300%2C300&amp;ssl=1\" class=\"alignnone size-thumbnail wp-image-717\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/11\/Me.jpg?resize=150%2C150&#038;ssl=1\" alt=\"\" width=\"150\" height=\"150\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/11\/Me.jpg?resize=150%2C150&amp;ssl=1 150w, https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/11\/Me.jpg?resize=270%2C270&amp;ssl=1 270w, https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/11\/Me.jpg?w=300&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/11\/Me.jpg?resize=230%2C230&amp;ssl=1 230w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/p>\n<p><a name=\"end\"><\/a>*<strong>Katerina Delikonstantinidou <\/strong>is a PhD Candidate in the School of English, Aristotle University of Thessaloniki. Her articles have been published in numerous volumes and journals, her research work has been presented at national and international conferences, and she is the recipient of several grants and scholarships. She has been a member of the web team for <em>Critical Stages<\/em> since 2014. Her research areas include Theatre and Performing Arts, Ancient myth, Greek Tragedy and Ethnic Studies.<\/p>\n<p style=\"text-align: center; font-size: 14px;\">Copyright <strong>\u00a9<\/strong> 2017 Katerina Delikonstantinidou<br \/>\n<em>Critical Stages\/Sc\u00e8nes critiques<\/em> e-ISSN: 2409-7411<\/p>\n<p style=\"text-align: center;\"><a href=\"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/\" target=\"_blank\" rel=\"noopener\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/wp-content\/uploads\/2021\/03\/88x31.png?resize=88%2C31&#038;ssl=1\" alt=\"\" width=\"88\" height=\"31\" \/><\/a><\/p>\n<p style=\"text-align: center; font-size: 14px;\">This work is licensed under the<br \/>\nCreative Commons Attribution International License CC BY-NC-ND 4.0.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Aikaterini Delikonstantinidou* Dimitria Festival, Thessaloniki, October 2017 The historical trajectory of the Dimitria Festival, with its origins dating back to the Byzantine era, is impressive, to say the least. The Festival was officially re-established in 1966 and has since etched<\/p>\n","protected":false},"author":1,"featured_media":718,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[3],"tags":[67],"class_list":["post-716","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-performance-reviews","tag-by-aikaterini-delikonstantinidou","","tg-column-two"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/11\/Photo-1-5.jpg?fit=700%2C393&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9iUM2-by","jetpack_likes_enabled":false,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/posts\/716","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/types\/post"}],"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=716"}],"version-history":[{"count":1,"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/posts\/716\/revisions"}],"predecessor-version":[{"id":1373,"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/posts\/716\/revisions\/1373"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/media\/718"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/media?parent=716"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/categories?post=716"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.critical-stages.org\/16\/wp-json\/wp\/v2\/tags?post=716"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}