{"id":112,"date":"2018-05-06T07:41:50","date_gmt":"2018-05-06T07:41:50","guid":{"rendered":"https:\/\/www.critical-stages.org\/17\/?page_id=112"},"modified":"2018-05-07T18:28:51","modified_gmt":"2018-05-07T18:28:51","slug":"essays","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/17\/essays\/","title":{"rendered":"Essays"},"content":{"rendered":"<p>Section Editor:\u00a0<strong>Yun-Cheol Kim<\/strong>\u00a0(S. Korea)<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"726\" data-permalink=\"https:\/\/www.critical-stages.org\/17\/le-theatre-a-la-rencontre-de-la-medecine-ou-comment-briser-la-forteresse-du-temps\/picture3-12\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/06\/Picture3-2.jpg?fit=700%2C300&amp;ssl=1\" data-orig-size=\"700,300\" 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=\"Picture3\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Lecture d\u2019un CV fictif pour l\u2019entra\u00eenement de la voix (apprendre \u00e0 avoir un discours sensible et articul\u00e9)&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/06\/Picture3-2.jpg?fit=700%2C300&amp;ssl=1\" class=\"alignnone size-full wp-image-726\" src=\"https:\/\/i1.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/09\/Cheol200.jpg?resize=200%2C252\" alt=\"\" width=\"200\" height=\"252\" data-attachment-id=\"726\" data-permalink=\"https:\/\/www.critical-stages.org\/16\/essays\/cheol200\/\" data-orig-file=\"https:\/\/i1.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/09\/Cheol200.jpg?fit=200%2C252\" data-orig-size=\"200,252\" 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=\"Cheol200\" data-image-description=\"\" data-medium-file=\"https:\/\/i1.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/09\/Cheol200.jpg?fit=200%2C252\" data-large-file=\"https:\/\/i1.wp.com\/www.critical-stages.org\/16\/wp-content\/uploads\/sites\/17\/2017\/09\/Cheol200.jpg?fit=200%2C252\" \/><\/p>\n<p><strong>Yun-Cheol Kim<\/strong>\u00a0obtained his PhD from BYU with his dissertation on contemporary American Drama. He served as President of the International Association of Theatre Critics (IATC) from 2008 till 2014. During his presidency he launched IATC\u2019s journal\u00a0<em>Critical Stages<\/em>\u00a0in 2009. Now he is an honorary president of the Association. He served as artistic director of the National Theatre Company of Korea for four years (from the beginning of 2014 till the end of 2017). He retired from the School of Drama, Korean National University of the Arts in 2015, where he taught for twenty years. He is now its honorary professor. He received the Cultural Order from the Korean government in 2008. Two-time winner of the \u201cCritic of the Year Award,\u201d he has published twelve books, two of which are anthologies of theatre reviews.<\/p>\n<hr \/>\n<div class=\"pt-cv-wrapper\"><div class=\"pt-cv-view pt-cv-grid pt-cv-colsys\" id=\"pt-cv-view-166d02b36k\"><div data-id=\"pt-cv-page-1\" class=\"pt-cv-page\" data-cvc=\"2\"><div class=\"col-md-6 col-sm-6 col-xs-12 pt-cv-content-item pt-cv-1-col\" ><div class='pt-cv-ifield'><a href=\"https:\/\/www.critical-stages.org\/17\/let-sleeping-moliere-lie\/\" class=\"_self pt-cv-href-thumbnail pt-cv-thumb-default\" target=\"_self\" ><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/05\/8.jpg?fit=300%2C200&amp;ssl=1\" class=\"pt-cv-thumbnail\" alt=\"\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/05\/8.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/05\/8.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"77\" data-permalink=\"https:\/\/www.critical-stages.org\/17\/let-sleeping-moliere-lie\/attachment\/8\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/05\/8.jpg?fit=700%2C466&amp;ssl=1\" data-orig-size=\"700,466\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;4.5&quot;,&quot;credit&quot;:&quot;Photographer: Alexander Sternin&quot;,&quot;camera&quot;:&quot;Canon EOS 5D Mark II&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1509653295&quot;,&quot;copyright&quot;:&quot;Photo by A.STERNIN&quot;,&quot;focal_length&quot;:&quot;75&quot;,&quot;iso&quot;:&quot;3200&quot;,&quot;shutter_speed&quot;:&quot;0.0055555555555556&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"8\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;A crowd scene from Dreams of M. de Moli\u00e8re. Photo: Alexander Sternin (from the official website of the Lenkom Theatre)&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/05\/8.jpg?fit=700%2C466&amp;ssl=1\" \/><\/a>\n<p class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/17\/let-sleeping-moliere-lie\/\" class=\"_self\" target=\"_self\" >Let Sleeping Moli\u00e8re Lie<\/a><\/p>\n<div class=\"pt-cv-meta-fields\"><span class=\"terms\"> <a href='https:\/\/www.critical-stages.org\/17\/tag\/by-emiliia-dementsova\/' title='by Emiliia Dementsova' class='pt-cv-tax-by-emiliia-dementsova'>by Emiliia Dementsova<\/a>, <a href='https:\/\/www.critical-stages.org\/17\/category\/essays\/' title='Essays' class='pt-cv-tax-essays'>Essays<\/a><\/span><\/div><\/div><\/div>\n<div class=\"col-md-6 col-sm-6 col-xs-12 pt-cv-content-item pt-cv-1-col\" ><div class='pt-cv-ifield'><a href=\"https:\/\/www.critical-stages.org\/17\/la-crise-de-lhumain-chez-joel-pommerat\/\" class=\"_self pt-cv-href-thumbnail pt-cv-thumb-default\" target=\"_self\" ><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/05\/Exarchou-featured.jpg?fit=300%2C200&amp;ssl=1\" class=\"pt-cv-thumbnail\" alt=\"\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/05\/Exarchou-featured.jpg?w=425&amp;ssl=1 425w, https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/05\/Exarchou-featured.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"1382\" data-permalink=\"https:\/\/www.critical-stages.org\/17\/la-crise-de-lhumain-chez-joel-pommerat\/exarchou-featured\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/05\/Exarchou-featured.jpg?fit=425%2C283&amp;ssl=1\" data-orig-size=\"425,283\" 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=\"Exarchou-featured\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/05\/Exarchou-featured.jpg?fit=425%2C283&amp;ssl=1\" \/><\/a>\n<p class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/17\/la-crise-de-lhumain-chez-joel-pommerat\/\" class=\"_self\" target=\"_self\" >La crise de l\u2019humain chez Jo\u00ebl Pommerat<\/a><\/p>\n<div class=\"pt-cv-meta-fields\"><span class=\"terms\"> <a href='https:\/\/www.critical-stages.org\/17\/tag\/by-kalliopi-exarchou\/' title='by Kalliopi Exarchou' class='pt-cv-tax-by-kalliopi-exarchou'>by Kalliopi Exarchou<\/a>, <a href='https:\/\/www.critical-stages.org\/17\/category\/essays\/' title='Essays' class='pt-cv-tax-essays'>Essays<\/a><\/span><\/div><\/div><\/div>\n<div class=\"col-md-6 col-sm-6 col-xs-12 pt-cv-content-item pt-cv-1-col\" ><div class='pt-cv-ifield'><a href=\"https:\/\/www.critical-stages.org\/17\/shakespeare-against-war-and-tyranny-a-georgian-example\/\" class=\"_self pt-cv-href-thumbnail pt-cv-thumb-default\" target=\"_self\" ><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"216\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/07\/4.jpg?fit=300%2C216&amp;ssl=1\" class=\"pt-cv-thumbnail\" alt=\"\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/07\/4.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/07\/4.jpg?resize=300%2C216&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"983\" data-permalink=\"https:\/\/www.critical-stages.org\/17\/shakespeare-against-war-and-tyranny-a-georgian-example\/4-3\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/07\/4.jpg?fit=700%2C505&amp;ssl=1\" data-orig-size=\"700,505\" 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=\"4\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;King Lear, directed by Robert Sturua, Rustaveli National Theatre, Ramaz Chkhikvadze as King Lear, Marina Kakhiani as Cordelia &lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/07\/4.jpg?fit=700%2C505&amp;ssl=1\" \/><\/a>\n<p class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/17\/shakespeare-against-war-and-tyranny-a-georgian-example\/\" class=\"_self\" target=\"_self\" >Shakespeare Against War and Tyranny: A Georgian Example<\/a><\/p>\n<div class=\"pt-cv-meta-fields\"><span class=\"terms\"> <a href='https:\/\/www.critical-stages.org\/17\/tag\/by-natalia-tvaltchrelidze\/' title='by Natalia Tvaltchrelidze' class='pt-cv-tax-by-natalia-tvaltchrelidze'>by Natalia Tvaltchrelidze<\/a>, <a href='https:\/\/www.critical-stages.org\/17\/category\/essays\/' title='Essays' class='pt-cv-tax-essays'>Essays<\/a><\/span><\/div><\/div><\/div>\n<div class=\"col-md-6 col-sm-6 col-xs-12 pt-cv-content-item pt-cv-1-col\" ><div class='pt-cv-ifield'><a href=\"https:\/\/www.critical-stages.org\/17\/nudity-in-performance-boon-or-bane\/\" class=\"_self pt-cv-href-thumbnail pt-cv-thumb-default\" target=\"_self\" ><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"199\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/09\/Picture7.jpg?fit=300%2C199&amp;ssl=1\" class=\"pt-cv-thumbnail\" alt=\"\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/09\/Picture7.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/09\/Picture7.jpg?resize=300%2C199&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"1130\" data-permalink=\"https:\/\/www.critical-stages.org\/17\/nudity-in-performance-boon-or-bane\/picture7-12\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/09\/Picture7.jpg?fit=700%2C465&amp;ssl=1\" data-orig-size=\"700,465\" 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=\"Picture7\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Kalyanee Muley in the solo performance Unseen. Photo: Ajay Joshi&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/09\/Picture7.jpg?fit=700%2C465&amp;ssl=1\" \/><\/a>\n<p class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/17\/nudity-in-performance-boon-or-bane\/\" class=\"_self\" target=\"_self\" >Nudity in Performance\u2014Boon or Bane?<\/a><\/p>\n<div class=\"pt-cv-meta-fields\"><span class=\"terms\"> <a href='https:\/\/www.critical-stages.org\/17\/tag\/by-ajay-joshi\/' title='by Ajay Joshi' class='pt-cv-tax-by-ajay-joshi'>by Ajay Joshi<\/a>, <a href='https:\/\/www.critical-stages.org\/17\/category\/essays\/' title='Essays' class='pt-cv-tax-essays'>Essays<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Section Editor:\u00a0Yun-Cheol Kim\u00a0(S. Korea) Yun-Cheol Kim\u00a0obtained his PhD from BYU with his dissertation on contemporary American Drama. He served as President of the International Association of Theatre Critics (IATC) from 2008 till 2014. During his presidency he launched IATC\u2019s journal\u00a0Critical<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-112","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P9Xk3S-1O","jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/17\/wp-json\/wp\/v2\/pages\/112","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/17\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/17\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/17\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/17\/wp-json\/wp\/v2\/comments?post=112"}],"version-history":[{"count":2,"href":"https:\/\/www.critical-stages.org\/17\/wp-json\/wp\/v2\/pages\/112\/revisions"}],"predecessor-version":[{"id":249,"href":"https:\/\/www.critical-stages.org\/17\/wp-json\/wp\/v2\/pages\/112\/revisions\/249"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/17\/wp-json\/wp\/v2\/media?parent=112"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}