{"id":99,"date":"2018-10-12T18:52:13","date_gmt":"2018-10-12T18:52:13","guid":{"rendered":"https:\/\/www.critical-stages.org\/18\/?page_id=99"},"modified":"2019-06-18T14:46:54","modified_gmt":"2019-06-18T14:46:54","slug":"contents","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/18\/","title":{"rendered":"Contents"},"content":{"rendered":"

Table of Contents<\/h3>\n

Special Topic I<\/span>:\u00a0<\/span>Theatre and Performing Arts in Contemporary China: Promises and Challenges<\/span><\/a><\/h4>\n

Section Guest Editors: Peng Tao<\/strong>, Danfeng Meng<\/strong> and\u00a0Zhu Ning\u00a0<\/strong>(China)\u00a0(Assistant Editor: Savas Patsalidis)<\/p>\n

\"\"<\/a>\n

Introductory Note<\/a><\/p>\n

by Peng Tao<\/a>, Chinese Theatre<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Theatre Limits and Possibilities in Contemporary China: Interview with Lin Zhaohua and Guo Shixing<\/a><\/p>\n

by Lin Xiyue & Meng Danfeng & Peng Tao<\/a>, Chinese Theatre<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

“In China, directors are considered more highly than playwrights”:\u00a0Interview with Stan Lai<\/a><\/p>\n

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

Transforming Techniques, Transforming Relationships: Interview with Actor-Director Ding Yiteng<\/a><\/p>\n

by Lissa Tyler Renaud<\/a>, Chinese Theatre<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Chinese Theatre since 1980<\/a><\/p>\n

by Lin Kehuan<\/a>, Chinese Theatre<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Traditional Chinese Theatre Today<\/a><\/p>\n

by Fu Jin<\/a>, Chinese Theatre<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Contemporary Chinese Dance:\u00a0The Interweaving of Tradition and Modernity<\/a><\/p>\n

by Min Zhu<\/a>, Chinese Theatre<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Moving Forward: An Essay on How to Contemporize the Traditional Chinese Theater without Severing the Tradition<\/a><\/p>\n

by Elias Edstr\u00f6m<\/a>, Chinese Theatre<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Chinese Directors: The New Generation<\/a><\/p>\n

by Xi Muliang and Annie Feng<\/a>, Chinese Theatre<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Between Tradition and the Contemporary: An Exploration of Chinese Scenic Designers<\/a><\/p>\n

by Zhao Yan<\/a>, Chinese Theatre<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

The Interpretation and Misinterpretation of the Verfremdungs<\/em> effect on the Modern Xiqu<\/em> Stage<\/a><\/p>\n

by Chen Lin<\/a>, Chinese Theatre<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Noises from the \u201cOther\u201d and the \u201cAbove\u201d: An Alternative Reading of \u201cYellow Peril\u201d in The Humans<\/em><\/a><\/p>\n

by Bindi Kang<\/a>, Chinese Theatre<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

The Adaptation of Shakespeare into Chinese Xiqu<\/a><\/p>\n

by Zhu Ning<\/a>, Chinese Theatre<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Chinese Shadows on Swedish Stages<\/a><\/p>\n

by Margareta S\u00f6renson<\/a>, Chinese Theatre<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Where \u03a4here \u0399s Theatre, \u03a4here \u0399s Hope:\u00a0Interview with Elizabeth Wong<\/a><\/p>\n

by Savas Patsalidis<\/a>, Chinese Theatre<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n
\n

Special Topic II: The Question That Won\u2019t Go Away<\/span><\/a><\/h4>\n

Section Editor:\u00a0Don Rubin<\/strong>\u00a0(Canada)<\/p>\n

\"\"<\/a>\n

Introduction<\/em><\/u>
The Question That Won\u2019t Go Away:
Did the Man From Stratford Really Write the Plays?<\/em><\/a><\/p>\n

by Don Rubin<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Derek Jacobi and Mark Rylance: Reasonable Doubt about the Identity of William Shakespeare<\/a><\/p>\n

by Derek Jacobi and Mark Rylance<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

A Theatre Artist\u2019s Path:
Questioning Shakespeare\u2019s Authorship<\/a><\/p>\n

by Keir Cutler<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

What\u2019s the Question in Shakespeare\u2019s Unorthodox Biography?<\/a><\/p>\n

by Diana Price<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Transforming Productions of Shakespeare\u2019s Plays<\/a><\/p>\n

by Gary Goldstein<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Shakespeare as Lawyer<\/em>
Hamlet<\/em>: Death, Property, and the Pursuit of Justice<\/a><\/p>\n

by Thomas Regnier<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

The Argument for Edward de Vere: \u201cShake-speare\u201d Was a Man of the Theatre<\/a><\/p>\n

by Hank Whittemore<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Pourquoi ‘John Florio, alias Shakespeare’<\/em>\u00a0?<\/a><\/p>\n

by Michel Va\u00efs<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

An Interview with Mark Rylance
\u201cIt\u2019s important to know how great works of theatre are made\u201d<\/a><\/p>\n

Special Topic<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n
\n

Essays<\/span><\/a><\/h4>\n

Section Editor:\u00a0Yun-Cheol Kim\u00a0<\/strong>(S. Korea)<\/p>\n

\"\"<\/a>\n

Conflicting Nations, Conversing Individuals in Lola Arias\u2019s Minefield<\/em><\/a><\/p>\n

by Elizabeth Sakellaridou<\/a>, Essays<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Le th\u00e9\u00e2tre et l\u2019Esprit du temps<\/a><\/p>\n

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

The Art of Criticism: Sharing the Theatre Experience<\/a><\/p>\n

by Don Rubin<\/a>, Essays<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

The Confessions of a Failed Educator<\/a><\/p>\n

by Yun-Cheol Kim<\/a>, Essays<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n
\n

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

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

\"\"<\/a>\n

(Re)Viewing Bulgarian Theatre of Today<\/a><\/p>\n

by Kamelia Nikolova<\/a>, National Reports<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Contemporary Finnish Theatre: Disruption and Expanding Fields<\/a><\/p>\n

by Hanna Helavuori<\/a>, National Reports<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Malaysia\u2019s Theatre and its Circuit of Culture<\/a><\/p>\n

by Benny Lim and Chua Lian Choon<\/a>, National Reports<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

12 Seconds to the Year of Theatre<\/a><\/p>\n

by Emiliia Dementsova<\/a>, National Reports<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n
\n

Interviews<\/span><\/a><\/h4>\n

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

\"\"<\/a>\n

The Time of Our Lives:\u00a0Interview with Bonnie Marranca<\/a><\/p>\n

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

Theater, Philosophy, Literature: A Field of Tension. Interview with Professor Martin Puchner<\/a><\/p>\n

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

Making Theatre \u0399nside and \u039futside Turkey under Erdo\u011fan: Interview with Murat Daltaban<\/a><\/p>\n

by Mark Brown<\/a>, Interviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Making Theatre Between the Desert and the Sea: Interview with Shay Pitowsky<\/a><\/p>\n

by Shai Bar Yaacov<\/a>, Interviews<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n
\n

Performance Reviews<\/span><\/a><\/h4>\n

Section Editor: Matti Linnavuori\u00a0<\/strong>(Finland)<\/p>\n

\"\"<\/a>\n

Putin on the Ritz in St. Petersburg<\/a><\/p>\n

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

Timi\u015foara Festival Pierces through Past and Future Nationalisms<\/a><\/p>\n

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

Un spectacle d\u2019une malsaine ambigu\u00eft\u00e9<\/a><\/p>\n

by Jean-Pierre Han<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Almada\u2019s Theatre Fiesta: A Public Affair or an Affair with the Public<\/a><\/p>\n

by Katerina Delikonstantinidou<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Le Tartuffe d\u00e9jant\u00e9 d\u2019Oskaras Kor\u0161unovas<\/a><\/p>\n

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

Discovering Minsk through Belarusian Theatre<\/a><\/p>\n

by Maria Z\u0103rnescu<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

How to Organize a Bridge between National and International<\/a><\/p>\n

by Mehrdad Rayani-Makhsous<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Comment inventer demain ?<\/a><\/p>\n

by Camille Khoury<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Of Mothers and Warriors<\/a><\/p>\n

by Patricia Keeney<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Magic Mirror on the Wall, Who’s the Mightiest One of All?<\/a><\/p>\n

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

Mr. Muhsin\u2019s Memory of Hamlet Rewrites the History of Turkey\u2019s Theatre<\/a><\/p>\n

by Eylem Ejder<\/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

Gigi C\u0103ciuleanu: The Dance Man<\/a><\/p>\n

Book Reviews<\/a>, by C\u0103lin Ciobotari<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Shakespeare\u2019s Wilderness<\/a><\/p>\n

Book Reviews<\/a>, by Patricia Keeney<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Albertine, en cinq temps de Michel Tremblay : Gen\u00e8se et mise en sc\u00e8ne
\u00c9dition g\u00e9n\u00e9tique et \u00e9tude<\/a><\/p>\n

Book Reviews<\/a>, by Alvina Ruprecht<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Le th\u00e9\u00e2tre d\u2019 Aim\u00e9 C\u00e9saire : Ides et Calendes<\/a><\/p>\n

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

Protest Choirs: A New Aesthetics of Resistance<\/a><\/p>\n

Book Reviews<\/a>, by Natascha Siouzouli<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n
\n

Thalia Prize<\/span><\/a><\/h4>\n
\"\"<\/a>\n

Introducing Hans-Thies Lehmann<\/a><\/p>\n

Thalia Prize<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Initial Thoughts on the Curious Case of Postdramatic Theatre in the Indian Context<\/a><\/p>\n

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

A Brief Overview of Postdramatic Theatre and its Contribution to Independent Chinese Theatre<\/a><\/p>\n

by Peng Tao<\/a>, Thalia Prize<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Tribute to Professor Hans-Thies Lehmann on the Occasion of His Investiture as the 2018 IATC Thalia Laureate<\/a><\/p>\n

by Emmanuel S. Dandaura<\/a>, Thalia Prize<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Thalia Prize 2018 Acceptance Speech By Professor Hans-Thies Lehmann<\/a><\/p>\n

Thalia Prize<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

Table of Contents Special Topic I:\u00a0Theatre and Performing Arts in Contemporary China: Promises and Challenges Section Guest Editors: Peng Tao, Danfeng Meng and\u00a0Zhu Ning\u00a0(China)\u00a0(Assistant Editor: Savas Patsalidis) Special Topic II: The Question That Won\u2019t Go Away Section Editor:\u00a0Don Rubin\u00a0(Canada) Essays<\/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-99","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/Pam472-1B","jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/pages\/99","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/comments?post=99"}],"version-history":[{"count":19,"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/pages\/99\/revisions"}],"predecessor-version":[{"id":1375,"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/pages\/99\/revisions\/1375"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/media?parent=99"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}