{"id":9,"date":"2018-05-03T18:20:32","date_gmt":"2018-05-03T18:20:32","guid":{"rendered":"https:\/\/www.critical-stages.org\/17\/?page_id=9"},"modified":"2018-09-03T19:03:09","modified_gmt":"2018-09-03T19:03:09","slug":"contents","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/17\/","title":{"rendered":"Contents"},"content":{"rendered":"

Table of Contents<\/h3>\n

Editorial Note<\/a>\u00a0|\u00a0\u00c9ditorial<\/a>
\nSavas Patsalidis<\/strong>\u00a0(editor-in-chief)<\/p>\n

\n

Special Topic: Medicine and\/in Theatre <\/span><\/a><\/h4>\n

Section Editors: Vinia Dakari<\/strong>\u00a0(Greece) and\u00a0Catherine Rogers<\/strong>\u00a0(USA)<\/p>\n

\"\"<\/a>\n

Le monde comme h\u00f4pital<\/a><\/p>\n

by Georges Banu<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Performance Spectatorship: \u201cActing Without Acting\u201d<\/a><\/p>\n

by Evi Prousali<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Cancer, Narrative and the End of Telling<\/a><\/p>\n

by Mechele Leon<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

\u201cI and you\u201d Becomes \u201cI am you\u201d: The Audience\u2019s Gaze in Contemporary Medical Performance<\/a><\/p>\n

by Alex Mermikides<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Medicine, Theatre and Light in the Era of Postdramatic Theatre<\/a><\/p>\n

by Amy Chan and Natalie Cheung<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Birthing a Critique of Modernity<\/a><\/p>\n

by Swati Simha<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

The Creative Process of The Birth Machine<\/em>: The History of Childbirth in Brazil through Five Generations in My Own Family<\/a><\/p>\n

by Marcia Zanelatto<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Tracie Chima Utoh\u2019s Cauldron of Death<\/em> as Cauldron of Life<\/a><\/p>\n

by Sunday Edum<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

The Body’s Brain: Neurology in Theatrical Practice<\/a><\/p>\n

by Tracy Bersley<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Teaching Empathy? Implementing Theatre Pedagogy in the Medical School Curriculum<\/a><\/p>\n

by Elisabeth Hostetter and Melanie Stewart<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Le th\u00e9\u00e2tre \u00e0 la rencontre de la m\u00e9decine : O\u00f9 : Comment briser la forteresse du temps<\/a><\/p>\n

by Serge Ouaknine<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Theatre as a Transformative Learning Experience for US-Based Students of Global Health Ethics<\/a><\/p>\n

by Kearsley A. Stewart et al<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Theatre, Cancer and Catharsis: The Hospital as an Agora<\/a><\/p>\n

by Alberto Pagliarino<\/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

Let Sleeping Moli\u00e8re Lie<\/a><\/p>\n

by Emiliia Dementsova<\/a>, Essays<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

La crise de l\u2019humain chez Jo\u00ebl Pommerat<\/a><\/p>\n

by Kalliopi Exarchou<\/a>, Essays<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Shakespeare Against War and Tyranny: A Georgian Example<\/a><\/p>\n

by Natalia Tvaltchrelidze<\/a>, Essays<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Nudity in Performance\u2014Boon or Bane?<\/a><\/p>\n

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

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

Section Editor:\u00a0Savas Patsalidis\u00a0<\/strong>(Greece)<\/p>\n

\"\"<\/a>\n

Overview of Theatre in Catalonia<\/a><\/p>\n

by Merc\u00e8 Saumell<\/a>, National Reports<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

The Polish Theatre Looks at the Hands of the Authorities<\/a><\/p>\n

by Tomasz Mi\u0142kowski<\/a>, National Reports<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

The Contrasting Landscape of Theatre in Turkey: Resisting (with) Theatre<\/a><\/p>\n

by Eylem Ejder<\/a>, National Reports<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Two Revolutions in Korea: From the Candlelight Protests to the #Me, too Movement<\/a><\/p>\n

by Noh Yi-Joung<\/a>, National Reports<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Theatre in Cyprus: In Search of a New Identity<\/a><\/p>\n

by Maria Hamali<\/a>, National Reports<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Brexit Brexit Brexit Brexit Brexit Brexit Brexit Brexit Brexit: UK Theatre and the Foreign Element<\/a><\/p>\n

by Bojana Jankovi\u0107<\/a>, National Reports<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Out of the Box(-Office): New Trends in Hungarian Performing Arts<\/a><\/p>\n

by No\u00e9mi Herczog<\/a>, National Reports<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n
\n

Interviews: Theatre Festivals and the Shifting World(s) of the New Century<\/span><\/a><\/h4>\n

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

\"\"<\/a>\n

Greco-Roman Theater for the 21st-Century Spectator: Interview with Jes\u00fas Cimarro<\/a><\/p>\n

by Rovie Herrera Medalle<\/a>, Interviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Le SPAF face \u00e0 l\u2019\u00e9volution de la Cor\u00e9e : Entretien avec Byoung-hoon Lee, directeur de la programmation du SPAF<\/a><\/p>\n

by Jisoo Nam<\/a>, Interviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Innovation and Prudent Risks are at the Very Heart of the Festivals: Interview with Haris Pa\u0161ovi\u0107<\/a><\/p>\n

by Savas Patsalidis<\/a>, Interviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

\u201cMany festivals are mostly a brand\u201d: Interview with Rodrigo Francisco<\/a><\/p>\n

by Savas Patsalidis<\/a>, Interviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

The Vinod Doshi Memorial Theatre Festival has Created its Own Audience: Interview with Ashok Kulkarni<\/a><\/p>\n

by Deepa Punjani<\/a>, Interviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Politik im Freien Theater: Interview with the Jury<\/a><\/p>\n

by Azadeh Sharifi<\/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

Worth the Ten-Year Wait: Adrienne Kennedy Returns<\/a><\/p>\n

by Derek McCracken<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Climbing Mount Fabre<\/a><\/p>\n

by Margareta S\u00f6renson<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Old Europe Is (Not) Dying: Literature, Tradition and Politics in Tiago Rodrigues\u2019 Sopro (and Other Performances)<\/a><\/p>\n

by Rui Pina Coelho<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Forum and Function<\/a><\/p>\n

by Barry Gaines<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Picasso, ou le pacte avec le diable<\/a><\/p>\n

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

Seriously Hilarious, Or: Knowledge Is Power<\/a><\/p>\n

by Soila Lehtonen<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Ibsen\u2019s Play Adapted to Represent Contemporary Chinese Femininity<\/a><\/p>\n

by Hu Xuan<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Latvian Directors Set Course for Beauty<\/a><\/p>\n

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

Le Monstre, th\u00e9\u00e2tre d\u2019ombre et de gestes<\/a><\/p>\n

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

Mime Speaks Volumes in London<\/a><\/p>\n

by Meral Harmanc\u0131<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

The Elephant and the Circus<\/a><\/p>\n

by Ivona Janjic and Eunice Tudela de Azevedo<\/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

Les th\u00e9\u00e2tres francophones du Pacifique Sud<\/a><\/p>\n

Book Reviews<\/a>, by Michel Va\u00efs<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Tragedy and Dramatic Theatre<\/a><\/p>\n

Book Reviews<\/a>, by Ross Stuart<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Hamlet: Globe to Globe<\/a><\/p>\n

Book Reviews<\/a>, by Hank Whittemore<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

The Reception of Aeschylus\u2019 Plays through Shifting Models and Frontiers<\/a><\/p>\n

Book Reviews<\/a>, by Amy S. Green<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Seven Plays of Koffi Kwahul\u00e9: In and out of Africa<\/a><\/p>\n

Book Reviews<\/a>, by Alvina Ruprecht and Femi Osofisan<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n
\n

Critics on Criticism<\/span><\/a><\/h4>\n

Section Editor:\u00a0Diana Damian Martin<\/strong>\u00a0(UK)<\/p>\n

\"\"<\/a>\n

Collectivity and Criticism: (Fragments of) Conversations on Post-dance<\/a><\/p>\n

by Writingshop<\/a>, Critics on Criticism<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

Table of Contents Editorial Note\u00a0|\u00a0\u00c9ditorial Savas Patsalidis\u00a0(editor-in-chief) Special Topic: Medicine and\/in Theatre Section Editors: Vinia Dakari\u00a0(Greece) and\u00a0Catherine Rogers\u00a0(USA) Essays Section Editor:\u00a0Yun-Cheol Kim\u00a0(S. Korea) National Reports Section Editor:\u00a0Savas Patsalidis\u00a0(Greece) Interviews: Theatre Festivals and the Shifting World(s) of the New Century Section<\/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-9","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P9Xk3S-9","jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/17\/wp-json\/wp\/v2\/pages\/9","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=9"}],"version-history":[{"count":15,"href":"https:\/\/www.critical-stages.org\/17\/wp-json\/wp\/v2\/pages\/9\/revisions"}],"predecessor-version":[{"id":1147,"href":"https:\/\/www.critical-stages.org\/17\/wp-json\/wp\/v2\/pages\/9\/revisions\/1147"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/17\/wp-json\/wp\/v2\/media?parent=9"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}