{"id":118,"date":"2019-04-14T18:57:17","date_gmt":"2019-04-14T18:57:17","guid":{"rendered":"https:\/\/www.critical-stages.org\/19\/?page_id=118"},"modified":"2019-07-02T15:29:09","modified_gmt":"2019-07-02T15:29:09","slug":"national-reports","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/19\/national-reports\/","title":{"rendered":"National Reports"},"content":{"rendered":"\n

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

Savas Patsalidis\u00a0<\/strong>is Professor of theatre and performance history and theory in the School of English (Aristotle University, Thessaloniki), the Hellenic Open University and the Drama Academy of the National Theatre of Northern Greece. He is also a regular lecturer on the Graduate Programme of the Theatre Department at Aristotle University. He is the author of fourteen books on theatre and performance criticism\/theory and co-editor of another thirteen. His two-volume study,\u00a0Theatre, Society, Nation<\/em>\u00a0(2010), was awarded first prize for best theatre study of the year. His latest book-length study\u00a0Theatre & Theory II: About Topoi, Utopias and Heterotopias<\/em>\u00a0was published in 2019 by University Studio Press. In addition to his academic activities, he works as a theatre reviewer for the ejournals\u00a0lavart<\/em>,\u00a0parallaxi<\/em>, and\u00a0thegreekplay project.\u00a0<\/em>He is currently the president of the Hellenic Association of Theatre and Performing Arts Critics, member of the curators\u2019 team of Dimitria Festival and the editor-in-chief of\u00a0Critical Stages\/Sc\u00e8nes critiques<\/em>, the journal of the International Association of Theatre Critics.<\/p>\n\n\n\n

\n\n\n
\"\"<\/a>\n

Destination Unknown: \u03a4he Lithuanian \u03a4heatre as Nekro\u0161ius Departs<\/a><\/p>\n

by Monika Ja\u0161inskait\u0117<\/a>, National Reports<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Institutional and Aesthetic Developments in Estonian Theatre<\/a><\/p>\n

by Anneli Saro<\/a>, National Reports<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Latvian Theatre Today: Winds of Change<\/a><\/p>\n

by Lauma Mell\u0113na-Bartkevi\u010da & Ieva Rodi\u0146a<\/a>, National Reports<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Petit ab\u00e9cedaire subjectif de sc\u00e8nes bruxelloises actuelles<\/a><\/p>\n

by Karolina Svobodova & Emilie Garcia Guillen<\/a>, National Reports<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Iranian Theatre Life in the Last Decade<\/a><\/p>\n

by Mehdi Nasiri and Pegah Samadzadeh<\/a>, National Reports<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Theatre and Performance Landscapes in Lebanon<\/a><\/p>\n

by Mona Merhi<\/a>, National Reports<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Azerbaijan \u03a4heatre: from Performances Without Stage to Theatres Without Spectacle<\/a><\/p>\n

by Daglar Yusif<\/a>, National Reports<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Le Festival ind\u00e9pendant des arts du spectacle: Un espace pour la nouvelle collectivit\u00e9 th\u00e9\u00e2trale du Kazakhstan<\/a><\/p>\n

by Irina Antonova<\/a>, National Reports<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

Section Editor: Savas Patsalidis (Greece) Savas Patsalidis\u00a0is Professor of theatre and performance history and theory in the School of English (Aristotle University, Thessaloniki), the Hellenic Open University and the Drama Academy of the National Theatre of Northern Greece. He is also a<\/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-118","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/PaUXOT-1U","_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/pages\/118","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/comments?post=118"}],"version-history":[{"count":4,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/pages\/118\/revisions"}],"predecessor-version":[{"id":1003,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/pages\/118\/revisions\/1003"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/media?parent=118"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}