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Critical Stages/Scènes critiques

The IATC journal/Revue de l'AICT – December/Décembre 2018: Issue No 18
 

Critical Stages/Scènes critiques

Critical Stages/Scènes critiques

The IATC journal/Revue de l'AICT – December/Décembre 2018: Issue No 18

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  • Contents
  • Special Topic I
  • Special Topic II
  • Essays
  • National Reports
  • Interviews
  • Performance Reviews
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  • Thalia Prize
A Theatre Artist’s Path:

A Theatre Artist’s Path:

Questioning Shakespeare’s Authorship

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Between Tradition and the Contemporary:

Between Tradition and the Contemporary:

An Exploration of Chinese Scenic Designers

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Traditional Chinese Theatre Today

Traditional Chinese Theatre Today

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Almada’s Theatre Fiesta: A Public Affair or an Affair with the Public

Almada’s Theatre Fiesta: A Public Affair or an Affair with the Public

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Discovering Minsk through Belarusian Theatre

Discovering Minsk through Belarusian Theatre

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Of Mothers and Warriors

Of Mothers and Warriors

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Transforming Techniques, Transforming Relationships:

Transforming Techniques, Transforming Relationships:

Interview with Actor-Director Ding Yiteng

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Timişoara Festival Pierces through Past and Future Nationalisms

Timişoara Festival Pierces through Past and Future Nationalisms

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Chinese Theatre

Introductory Note

Introductory Note

Peng Tao* Since Mr. Mei Lan-fang visited America and the Soviet Union with his theatre troupe (in 1930 and in 1935 respectively), bringing Chinese Jingju art to the West and communicating with some great European theatre artists such as Stanislavski,

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Theatre Limits and Possibilities in Contemporary China: Interview with Lin Zhaohua and Guo Shixing

Theatre Limits and Possibilities in Contemporary China: Interview with Lin Zhaohua and Guo Shixing

by Lin Xiyue*, Peng Tao**, Meng Danfeng*** Lin Zhaohua was born in Tianjin, in 1936. He graduated from the Performance Department of Central Academy of Drama, in 1961, and was assigned to the Beijing People’s Art Theatre, where he experienced

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“In China, directors are considered more highly than playwrights”: Interview with Stan Lai

“In China, directors are considered more highly than playwrights”: Interview with Stan Lai

by Savas Patsalidis* Lissa Tyler Renaud first interviewed Stan Lai for Critical Stages/Scènes critiques in 2010. Nine years later, and with the occasion of the special issue on contemporary Chinese theatre, we felt that this was an appropriate moment  to

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Transforming Techniques, Transforming Relationships: Interview with Actor-Director Ding Yiteng

Transforming Techniques, Transforming Relationships: Interview with Actor-Director Ding Yiteng

by Lissa Tyler Renaud* Ding Yiteng calls himself “a Chinese theatre director and actor,” but the press has called him “the shining gold . . . in the Chinese theatre bog.” Even this commendation barely hints at the creative life

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Chinese Theatre since 1980

Chinese Theatre since 1980

Lin Kehuan* Abstract: Chinese theatre has gone through a drastic period of free development and exploration since 1980. Many new phenomena and tendencies have occurred during those years. The article is a panoramic summary of this productive and varied trajectory.

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Traditional Chinese Theatre Today

Traditional Chinese Theatre Today

Fu Jin* Abstract: Chinese traditional theatre matured in the twelfth century. In modern times, its accepted name is Xiqu, which refers to Chinese traditional theatre after 1950. The present article focuses on the status quo of Xiqu in contemporary China

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Contemporary Chinese Dance: The Interweaving of Tradition and Modernity

Contemporary Chinese Dance: The Interweaving of Tradition and Modernity

Min Zhu* Abstract: This paper examines the motivations and characteristics embodied in Chinese contemporary dance in the context of modernization and globalization. The question discussed here is: if the intention of Chinese contemporary dance is to represent the lived experience

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Moving Forward: An Essay on How to Contemporize the Traditional Chinese Theater without Severing the Tradition

Moving Forward: An Essay on How to Contemporize the Traditional Chinese Theater without Severing the Tradition

Elias Edström* Abstract: Beijing opera is a form of traditional Chinese theater arts, which, together with other opera styles, has seen a steady decline in the past years. This highly refined and stylized way of performing faces challenges and many initiatives

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Chinese Directors: The New Generation

Chinese Directors: The New Generation

Xi Muliang* and Annie Feng** Abstract: In the twenty-first century, a new generation of theatre artists has appeared on the stage of Chinese theatre. Compared with established theatre artists, the new generation is much bolder with its stage explorations. This article

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Between Tradition and the Contemporary: An Exploration of Chinese Scenic Designers

Between Tradition and the Contemporary: An Exploration of Chinese Scenic Designers

Yan Zhao* Abstract: In the past forty years, the development of Chinese scenic design has been influenced by many forms of scenography from around the world. As time has progressed, numerous plays have reflected Chinese scenic designers’ tendency to actively search

cs2-admin November 29, 2018February 6, 2022 Chinese Theatre Read more
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Critical Stages/Scènes critiques is published with generous support from the JIN XING Dance Theatre

 


Critical Stages/Scènes critiques is hosted with generous support from the Aristotle University of Thessaloniki, Greece

 

 

 

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