{"id":149,"date":"2018-05-06T09:06:57","date_gmt":"2018-05-06T09:06:57","guid":{"rendered":"https:\/\/www.critical-stages.org\/17\/?page_id=149"},"modified":"2018-05-07T18:28:24","modified_gmt":"2018-05-07T18:28:24","slug":"national-reports","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/17\/national-reports\/","title":{"rendered":"National Reports"},"content":{"rendered":"<p>Section Editor:\u00a0<strong>Savas Patsalidis\u00a0<\/strong>(Greece)<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-67\" src=\"https:\/\/i2.wp.com\/www.critical-stages.org\/14\/wp-content\/uploads\/sites\/15\/2016\/10\/patsalidis.jpg?resize=140%2C186\" alt=\"\" width=\"140\" height=\"186\" \/><\/p>\n<p><strong>Savas Patsalidis\u00a0<\/strong>is Professor of theatre and performance history and theory in the School of English (Aristotle University), the Hellenic Open University and the Drama Academy of the National Theatre of Northern Greece. He is the author of thirteen books on theatre and performance criticism\/theory and co-editor of another thirteen. His two-volume study,\u00a0<em>Theatre, Society, Nation<\/em>\u00a0(2010), was awarded first prize for best theatre study of the year. In addition to his academic activities, he works as a theatre reviewer for the ejournals\u00a0<em>lavart<\/em>,\u00a0<em>parallaxi<\/em>, and\u00a0<em>the greekplay project<\/em>. He is currently the president of the Hellenic Association of Theatre and Performing Arts Critics and the editor-in-chief of\u00a0<em>Critical Stages\/Sc\u00e8nes Critiques<\/em>, the web journal of the International Association of Theatre Critics.<\/p>\n<hr \/>\n<div class=\"pt-cv-wrapper\"><div class=\"pt-cv-view pt-cv-grid pt-cv-colsys\" id=\"pt-cv-view-76bb689r4s\"><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\/overview-of-theatre-in-catalonia\/\" 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\/05\/Photo-7-Campanades-de-boda.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\/05\/Photo-7-Campanades-de-boda.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/05\/Photo-7-Campanades-de-boda.jpg?resize=300%2C199&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"124\" data-permalink=\"https:\/\/www.critical-stages.org\/17\/overview-of-theatre-in-catalonia\/photo-7-campanades-de-boda\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/05\/Photo-7-Campanades-de-boda.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=\"Photo 7 Campanades de boda\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Wedding Bells, by La Cubana. Teatre T\u00edvoli, Barcelona (2015). Photo: David Ruano&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/05\/Photo-7-Campanades-de-boda.jpg?fit=700%2C465&amp;ssl=1\" \/><\/a>\n<p class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/17\/overview-of-theatre-in-catalonia\/\" class=\"_self\" target=\"_self\" >Overview of Theatre in Catalonia<\/a><\/p>\n<div class=\"pt-cv-meta-fields\"><span class=\"terms\"> <a href='https:\/\/www.critical-stages.org\/17\/tag\/by-merce-saumell\/' title='by Merc\u00e8 Saumell' class='pt-cv-tax-by-merce-saumell'>by Merc\u00e8 Saumell<\/a>, <a href='https:\/\/www.critical-stages.org\/17\/category\/national-reports\/' title='National Reports' class='pt-cv-tax-national-reports'>National Reports<\/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\/the-polish-theatre-looks-at-the-hands-of-the-authorities\/\" 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\/5-armine-sister-fot-irena-lipinska.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\/5-armine-sister-fot-irena-lipinska.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/05\/5-armine-sister-fot-irena-lipinska.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"136\" data-permalink=\"https:\/\/www.critical-stages.org\/17\/the-polish-theatre-looks-at-the-hands-of-the-authorities\/5-armine-sister-fot-irena-lipinska\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/05\/5-armine-sister-fot-irena-lipinska.jpg?fit=700%2C466&amp;ssl=1\" data-orig-size=\"700,466\" 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=\"5 -armine-sister-fot-irena-lipinska\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Teatr ZAR, Wroc\u0142aw. Armine, Sister, directed by Jaros\u0142aw Fret. Photo: Irena Lipi\u0144ska&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/05\/5-armine-sister-fot-irena-lipinska.jpg?fit=700%2C466&amp;ssl=1\" \/><\/a>\n<p class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/17\/the-polish-theatre-looks-at-the-hands-of-the-authorities\/\" class=\"_self\" target=\"_self\" >The Polish Theatre Looks at the Hands of the Authorities<\/a><\/p>\n<div class=\"pt-cv-meta-fields\"><span class=\"terms\"> <a href='https:\/\/www.critical-stages.org\/17\/tag\/by-tomasz-milkowski\/' title='by Tomasz Mi\u0142kowski' class='pt-cv-tax-by-tomasz-milkowski'>by Tomasz Mi\u0142kowski<\/a>, <a href='https:\/\/www.critical-stages.org\/17\/category\/national-reports\/' title='National Reports' class='pt-cv-tax-national-reports'>National Reports<\/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\/the-contrasting-landscape-of-theatre-in-turkey-resisting-with-theatre\/\" 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\/05\/Picture7-3.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\/05\/Picture7-3.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/05\/Picture7-3.jpg?resize=300%2C199&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"468\" data-permalink=\"https:\/\/www.critical-stages.org\/17\/the-contrasting-landscape-of-theatre-in-turkey-resisting-with-theatre\/picture7-4\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/05\/Picture7-3.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;From the Dirmit, an adaptation of Latife Tekin\u2019s novel, directed by Hakan Emre \u00dcnal. Photo: Nazl\u0131 Erdemirel&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/05\/Picture7-3.jpg?fit=700%2C465&amp;ssl=1\" \/><\/a>\n<p class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/17\/the-contrasting-landscape-of-theatre-in-turkey-resisting-with-theatre\/\" class=\"_self\" target=\"_self\" >The Contrasting Landscape of Theatre in Turkey: Resisting (with) Theatre<\/a><\/p>\n<div class=\"pt-cv-meta-fields\"><span class=\"terms\"> <a href='https:\/\/www.critical-stages.org\/17\/tag\/by-eylem-ejder\/' title='by Eylem Ejder' class='pt-cv-tax-by-eylem-ejder'>by Eylem Ejder<\/a>, <a href='https:\/\/www.critical-stages.org\/17\/category\/national-reports\/' title='National Reports' class='pt-cv-tax-national-reports'>National Reports<\/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\/two-revolutions-in-korea-from-the-candlelight-protests-to-the-me-too-movement\/\" 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\/05\/Picture4-6.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\/05\/Picture4-6.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/05\/Picture4-6.jpg?resize=300%2C199&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"481\" data-permalink=\"https:\/\/www.critical-stages.org\/17\/two-revolutions-in-korea-from-the-candlelight-protests-to-the-me-too-movement\/picture4-7\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/05\/Picture4-6.jpg?fit=700%2C464&amp;ssl=1\" data-orig-size=\"700,464\" 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=\"Picture4\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;All the Soldiers are\u00a0Pathetic, written and directed by Park Geun-Hyung. \u24d2 Namsan Arts Center&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/05\/Picture4-6.jpg?fit=700%2C464&amp;ssl=1\" \/><\/a>\n<p class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/17\/two-revolutions-in-korea-from-the-candlelight-protests-to-the-me-too-movement\/\" class=\"_self\" target=\"_self\" >Two Revolutions in Korea: From the Candlelight Protests to the #Me, too Movement<\/a><\/p>\n<div class=\"pt-cv-meta-fields\"><span class=\"terms\"> <a href='https:\/\/www.critical-stages.org\/17\/tag\/by-noh-yi-joung\/' title='by Noh Yi-Joung' class='pt-cv-tax-by-noh-yi-joung'>by Noh Yi-Joung<\/a>, <a href='https:\/\/www.critical-stages.org\/17\/category\/national-reports\/' title='National Reports' class='pt-cv-tax-national-reports'>National Reports<\/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\/theatre-in-cyprus-in-search-of-a-new-identity\/\" class=\"_self pt-cv-href-thumbnail pt-cv-thumb-default\" target=\"_self\" ><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"198\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/05\/Picture8-5.jpg?fit=300%2C198&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\/Picture8-5.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/05\/Picture8-5.jpg?resize=300%2C198&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"495\" data-permalink=\"https:\/\/www.critical-stages.org\/17\/theatre-in-cyprus-in-search-of-a-new-identity\/picture8-6\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/05\/Picture8-5.jpg?fit=700%2C463&amp;ssl=1\" data-orig-size=\"700,463\" 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=\"Picture8\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Five Little Strangers by Panayiotis Larkou, \u201cThe Guests\u2019 Living Room\u201d Programme, Nicosia 2018. Photo: THOC\u2019s Official Online Archive&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/05\/Picture8-5.jpg?fit=700%2C463&amp;ssl=1\" \/><\/a>\n<p class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/17\/theatre-in-cyprus-in-search-of-a-new-identity\/\" class=\"_self\" target=\"_self\" >Theatre in Cyprus: In Search of a New Identity<\/a><\/p>\n<div class=\"pt-cv-meta-fields\"><span class=\"terms\"> <a href='https:\/\/www.critical-stages.org\/17\/tag\/by-maria-hamali\/' title='by Maria Hamali' class='pt-cv-tax-by-maria-hamali'>by Maria Hamali<\/a>, <a href='https:\/\/www.critical-stages.org\/17\/category\/national-reports\/' title='National Reports' class='pt-cv-tax-national-reports'>National Reports<\/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\/brexit-brexit-brexit\/\" 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\/featured_uk.jpg?fit=300%2C200&amp;ssl=1\" class=\"pt-cv-thumbnail\" alt=\"\" data-attachment-id=\"627\" data-permalink=\"https:\/\/www.critical-stages.org\/17\/brexit-brexit-brexit\/featured_uk\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/05\/featured_uk.jpg?fit=300%2C200&amp;ssl=1\" data-orig-size=\"300,200\" 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=\"featured_uk\" 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\/featured_uk.jpg?fit=300%2C200&amp;ssl=1\" \/><\/a>\n<p class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/17\/brexit-brexit-brexit\/\" class=\"_self\" target=\"_self\" >Brexit Brexit Brexit Brexit Brexit Brexit Brexit Brexit Brexit: UK Theatre and the Foreign Element<\/a><\/p>\n<div class=\"pt-cv-meta-fields\"><span class=\"terms\"> <a href='https:\/\/www.critical-stages.org\/17\/tag\/by-bojana-jankovic\/' title='by Bojana Jankovi\u0107' class='pt-cv-tax-by-bojana-jankovic'>by Bojana Jankovi\u0107<\/a>, <a href='https:\/\/www.critical-stages.org\/17\/category\/national-reports\/' title='National Reports' class='pt-cv-tax-national-reports'>National Reports<\/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\/out-of-the-box-office-new-trends-in-hungarian-performing-arts\/\" 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\/06\/2.-Ern%C5%91-Fekete-Tam%C3%A1s-Keresztes-and-Zolt%C3%A1n-Bezer%C3%A9di-in-Katona-J%C3%B3zsef-Theatres-production-directed-by-B%C3%A9la-Pint%C3%A9r-2017.-Photo-by-Judit-Horv%C3%A1th.jpg?fit=300%2C216&amp;ssl=1\" class=\"pt-cv-thumbnail\" alt=\"\" data-attachment-id=\"778\" data-permalink=\"https:\/\/www.critical-stages.org\/17\/out-of-the-box-office-new-trends-in-hungarian-performing-arts\/2-erno-fekete-tamas-keresztes-and-zoltan-bezeredi-in-katona-jozsef-theatres-production-directed-by-bela-pinter-2017-photo-by-judit-horvath\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/06\/2.-Ern%C5%91-Fekete-Tam%C3%A1s-Keresztes-and-Zolt%C3%A1n-Bezer%C3%A9di-in-Katona-J%C3%B3zsef-Theatres-production-directed-by-B%C3%A9la-Pint%C3%A9r-2017.-Photo-by-Judit-Horv%C3%A1th.jpg?fit=700%2C504&amp;ssl=1\" data-orig-size=\"700,504\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;2.8&quot;,&quot;credit&quot;:&quot;Horvath Judit&quot;,&quot;camera&quot;:&quot;Canon EOS 70D&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1513279881&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;85&quot;,&quot;iso&quot;:&quot;1000&quot;,&quot;shutter_speed&quot;:&quot;0.004&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"2. Ern\u0151 Fekete, Tam\u00e1s Keresztes and Zolt\u00e1n Bezer\u00e9di in Katona J\u00f3zsef Theatre&amp;#8217;s production directed by B\u00e9la Pint\u00e9r 2017. Photo by Judit Horv\u00e1th\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Ern\u0151 Fekete, Tam\u00e1s Keresztes and Zolt\u00e1n Bezer\u00e9di in Katona J\u00f3zsef Theatre&amp;#8217;s production, directed by B\u00e9la Pint\u00e9r, in 2017.\u00a0&lt;br \/&gt;\nPhoto: Judit Horv\u00e1th&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/17\/wp-content\/uploads\/sites\/18\/2018\/06\/2.-Ern%C5%91-Fekete-Tam%C3%A1s-Keresztes-and-Zolt%C3%A1n-Bezer%C3%A9di-in-Katona-J%C3%B3zsef-Theatres-production-directed-by-B%C3%A9la-Pint%C3%A9r-2017.-Photo-by-Judit-Horv%C3%A1th.jpg?fit=700%2C504&amp;ssl=1\" \/><\/a>\n<p class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/17\/out-of-the-box-office-new-trends-in-hungarian-performing-arts\/\" class=\"_self\" target=\"_self\" >Out of the Box(-Office): New Trends in Hungarian Performing Arts<\/a><\/p>\n<div class=\"pt-cv-meta-fields\"><span class=\"terms\"> <a href='https:\/\/www.critical-stages.org\/17\/tag\/by-noemi-herczog\/' title='by No\u00e9mi Herczog' class='pt-cv-tax-by-noemi-herczog'>by No\u00e9mi Herczog<\/a>, <a href='https:\/\/www.critical-stages.org\/17\/category\/national-reports\/' title='National Reports' class='pt-cv-tax-national-reports'>National Reports<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Section Editor:\u00a0Savas Patsalidis\u00a0(Greece) Savas Patsalidis\u00a0is Professor of theatre and performance history and theory in the School of English (Aristotle University), the Hellenic Open University and the Drama Academy of the National Theatre of Northern Greece. He is the author of<\/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-149","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P9Xk3S-2p","jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/17\/wp-json\/wp\/v2\/pages\/149","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=149"}],"version-history":[{"count":2,"href":"https:\/\/www.critical-stages.org\/17\/wp-json\/wp\/v2\/pages\/149\/revisions"}],"predecessor-version":[{"id":248,"href":"https:\/\/www.critical-stages.org\/17\/wp-json\/wp\/v2\/pages\/149\/revisions\/248"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/17\/wp-json\/wp\/v2\/media?parent=149"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}