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Critical Stages/Scènes critiques

The IATC journal/Revue de l'AICT – June/Juin 2019: Issue No 19
 

Critical Stages/Scènes Critiques

Critical Stages/Scènes Critiques

The IATC journal/Revue de l'AICT – June/Juin 2019: Issue No 19

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A <em>Fin de Siècle</em> Life in Puppet Theatre:

A Fin de Siècle Life in Puppet Theatre:

Roman Paska

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<em>Hybridation</em>

Hybridation

Presented by Olivier de Sagazan in the 2nd Forest Festival, Thessaloniki, Greece

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L’Impossible Procès des Guadeloupéens

L’Impossible Procès des Guadeloupéens

Une dialectique fragile s’impose

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Latvian Theatre Today

Latvian Theatre Today

Winds of Change

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Jouer ou ne pas jouer

Jouer ou ne pas jouer

Limites d’une dramaturgie interactive

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Expanding the Boundaries

Expanding the Boundaries

Belgrade Dance Festival

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Uncle Vanya’s Roars on the Grand Piano

Uncle Vanya’s Roars on the Grand Piano

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Bleeding Heads and Bodies in Finland

Bleeding Heads and Bodies in Finland

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War Is All Around Us

War Is All Around Us

Interferences International Theatre Festival

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Destination Unknown:

Destination Unknown:

Τhe Lithuanian Τheatre as Nekrošius Departs

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Inter-national Crossings:

Inter-national Crossings:

Interview with Katia Arfara

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Unruly Feminist Circus in the Wake of #metoo

Unruly Feminist Circus in the Wake of #metoo

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Iranian Theatre Life in the Last Decade

Iranian Theatre Life in the Last Decade

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Theatre and Performance Landscapes in Lebanon

Theatre and Performance Landscapes in Lebanon

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Author: cs2-admin

The Shakespeare Authorship Debate (continued)
Uncertainties and Mysteries

The Shakespeare Authorship Debate (continued) <br>Uncertainties and Mysteries

Luke Prodromou* Abstract: Questioning the authorship of Shakespeare’s plays is often seen as an eccentricity of amateur scholars, an enquiry unworthy of serious academic consideration: our understanding of the plays on the page and our appreciation of them on the

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cs2-admin June 18, 2019March 19, 2023 Essays Read more

Destination Unknown: Τhe Lithuanian Τheatre as Nekrošius Departs

Destination Unknown: Τhe Lithuanian Τheatre as Nekrošius Departs

Monika Jašinskaitė* Abstract: This paper presents an overview of Lithuanian theatre processes during the last four years before Eimuntas Nekrošius’ death. It uses descriptive statistical analysis to look at current trends from various perspectives. It looks at the number of

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cs2-admin June 18, 2019March 19, 2023 National Reports Read more

Institutional and Aesthetic Developments in Estonian Theatre

Institutional and Aesthetic Developments in Estonian Theatre

Anneli Saro* Abstract: This article gives an overview of recent institutional and aesthetic developments in Estonian theatre, exposing their historical context where necessary. Estonia has preserved its network of professional theatres, but many independent theatres and groups have broadened the

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When Lepage and Mnouchkine Collide with Cultural Appropriation

When Lepage and Mnouchkine Collide with Cultural Appropriation

Michel Vaïs* NOTE I : Une version française de cet article suit. Abstract: Two shows mounted by Robert Lepage were cancelled during the summer of 2018, after they were denounced as “cultural appropriation,” mainly by Black people for SLÃV, then

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cs2-admin June 18, 2019February 6, 2022 Essays Read more

Inter-national Crossings: Interview with Katia Arfara

Inter-national Crossings: Interview with Katia Arfara

by Savas Patsalidis* When the Onassis Stegi (the word means “Roof” in Greek), opened its doors in 2010, something changed drastically in the artistic landscape of Athens. From the very start, Stegi offered space for courageous, restless and daring Greek

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cs2-admin June 16, 2019March 1, 2023 Interviews Read more

Tracing Shadows
On the Shadow Theatre Trail

Tracing Shadows<br>On the Shadow Theatre Trail

Fabrizio Montecchi* Ermanno Olmi, the great film director (recently deceased), said that an artist “cannot live without a past” and to go forwards “one must look back.” I was about to turn 30 when, for the first time, I felt

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Postcolonialism and Hybridity in British Puppetry

Postcolonialism and Hybridity in British Puppetry

Cariad Astles* Abstract: Puppetry is, in its essence, a hybrid of the visual and performing arts; hybrid in its construction and conception: alive and not-alive; anthropomorphic but not human; straddling worlds, cultures and identities. This article, dedicated to the late

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Voir double : Marionnette et bande dessinée

Voir double : Marionnette et bande dessinée

Antonia Leney-Granger* Résumé : La double vision décrit l’idée selon laquelle le public qui regarde un spectacle de marionnettes est à la fois plongé dans l’histoire et pleinement conscient des mécanismes qui rendent l’illusion possible. L’exploration des sources de ce phénomène

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Reconfiguring Being: Puppetry and Perspectives on Being Human Explored Through the Work of Ilka Schönbein

Reconfiguring Being: Puppetry and Perspectives on Being Human Explored Through the Work of Ilka Schönbein

Janni Younge* Abstract: Contemporary puppetry is a powerful artistic medium for developing perspectives on being human. Using the work of solo dance-puppeteer Ilka Schönbein, this paper explores the depth of meaning that puppetry can bring to theatre when used in

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A Fin de Siècle Life in Puppet Theatre: Roman Paska

A <em>Fin de Siècle</em> Life in Puppet Theatre: Roman Paska

James P. MacGuire* Abstract: This paper briefly sketches the career of New York based Roman Paska, which began at the school of mime master Jacques Lecoq in Paris and gradually developed into a distinct personal art summed up in his

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CS Issue No 19 Editorial Board

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The theatricality of music, the musicality of theatre

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Re-Orienting Arab Theatre and Performance: New Political Aesthetics

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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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