Critical Stages/Scènes critiques
The IATC journal/Revue de l'AICT – June/Juin 2019: Issue No 19
Roman Paska
Presented by Olivier de Sagazan in the 2nd Forest Festival, Thessaloniki, Greece
Une dialectique fragile s’impose
Winds of Change
Limites d’une dramaturgie interactive
Belgrade Dance Festival
Interferences International Theatre Festival
Τhe Lithuanian Τheatre as Nekrošius Departs
Interview with Katia Arfara
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
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
Lauma Mellēna-Bartkeviča* and Ieva Rodiņa** Abstract: The article gives an insight into the current situation of Latvian theatre, its administrative and artistic perspectives. It provides an overview of its financing models, emphasizing the increasing competitiveness of the independent theatres, as
Karolina Svobodova* et Emilie Garcia Guillen** Résumé : Cet article tend à rendre compte de la diversité et de la richesse de la scène théâtrale actuelle, et plus largement des arts de la scène, à Bruxelles et plus généralement en Belgique.
Mehdi Nasiri* and Pegah Samadzadeh** Abstract: This article considers the changing state of Iranian theatre in the last decade. It claims that the current character of theatre has been transformed from a state sponsored monopoly to a privatized competitive environment
Mona Merhi* Abstract: This article gives a general insight about contemporary theatre practices in Lebanon while focusing on four landscapes that are inter-related: In order to understand Theatre in Lebanon, it is important to examine the eco-system in which performance
Daglar Yusif* Abstract: Over time, the culture of play in Azerbaijan has been built on a ritual basis. Many religious-mystical ceremonies, plays related to nature events, and comic folk performances, were performed outdoors; and despite the fact that this phenomenon
Irina Antonova* Résumé : Lorsque le Kazakhstan a obtenu son indépendance en 1991, le théâtre devient un champ de conflits organisationnels, artistiques et idéologiques. Le pouvoir politique continue à suivre le système soviétique de gestion de la culture, y compris pour
