{"id":17,"date":"2019-04-14T16:00:02","date_gmt":"2019-04-14T16:00:02","guid":{"rendered":"https:\/\/www.critical-stages.org\/19\/?page_id=17"},"modified":"2019-06-20T19:41:47","modified_gmt":"2019-06-20T19:41:47","slug":"contents","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/19\/","title":{"rendered":"Contents"},"content":{"rendered":"\n

Table of Contents<\/h3>\n\n\n\n

Special Topic: The Art Form of Contemporary Puppetry<\/span><\/a><\/h4>\n\n\n\n

Guest Editors: Margareta S\u00f6renson<\/strong> (Sweden) and Jean-Pierre Han<\/strong> (France)<\/p>\n\n\n

\"\"<\/a>\n

Tracing Shadows
On the Shadow Theatre Trail<\/a><\/p>\n

by Fabrizio Montecchi<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Postcolonialism and Hybridity in British Puppetry<\/a><\/p>\n

by Cariad Astles<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Voir double : Marionnette et bande dessin\u00e9e<\/a><\/p>\n

by Antonia Leney-Granger<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Reconfiguring Being: Puppetry and Perspectives on Being Human Explored Through the Work of Ilka Sch\u00f6nbein<\/a><\/p>\n

by Janni Younge<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

A Fin de Si\u00e8cle<\/em> Life in Puppet Theatre: Roman Paska<\/a><\/p>\n

by James P. MacGuire<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Dance and Puppet Theatre<\/a><\/p>\n

by Margareta S\u00f6renson<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

L\u2019influence du concept de marionnette dans le th\u00e9\u00e2tre japonais<\/a><\/p>\n

by Mariko Anazawa<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Les Grenouilles d\u2019Aristophane face aux nouvelles technologies : Une proposition<\/a><\/p>\n

by Mariza Galani<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Directing and Puppetry in Contemporary Nigerian Theatre: A Study of the Production Final Draft<\/em><\/a><\/p>\n

by Tekena Gasper Mark<\/a>, Special Topic<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n
\n\n\n\n

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

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

\"\"<\/a>\n

The Shakespeare Authorship Debate (continued)
Uncertainties and Mysteries<\/a><\/p>\n

by Luke Prodromou<\/a>, Essays<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

When Lepage and Mnouchkine Collide with Cultural Appropriation<\/a><\/p>\n

by Michel Vais<\/a>, Essays<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Jouer ou ne pas jouer : Limites d\u2019une dramaturgie interactive<\/a><\/p>\n

by Nele Wynants<\/a>, Essays<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

How PSi Works: The Practice of Performance Studies<\/a><\/p>\n

by Maaike Bleeker<\/a>, Eero Laine and Sean Metzger<\/a>, Essays<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n\n\n\n
\n\n\n\n

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

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

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

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

\"\"<\/a>\n

Inter-national Crossings: Interview with Katia Arfara<\/a><\/p>\n

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

Reflecting on Cairo\u2019s International Festival for Contemporary and Experimental Theatre: Interview with Dina Amin<\/a><\/p>\n

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

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

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

\"\"<\/a>\n

Drunks, Dreamers and Dancers by the Sea<\/a><\/p>\n

by \u0399an Herbert<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

War Is All Around Us<\/a><\/p>\n

by Tam\u00e1s J\u00e1szay<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Eclectic Encounters in the Forest Festival of Thessaloniki<\/a><\/p>\n

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

Unruly Feminist Circus in the Wake of #metoo<\/a><\/p>\n

by Loretto Villalobos<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Bleeding Heads and Bodies in Finland<\/a><\/p>\n

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

Expanding the Boundaries<\/a><\/p>\n

by Tina Peri\u0107<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Uncle Vanya\u2019s Roars on the Grand Piano<\/a><\/p>\n

by Aydin Tal\u0131bzadeh<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

The Twentieth Century in One Family<\/a><\/p>\n

by Lasha Chkhartishvili<\/a>, Performance Reviews<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

L\u2019Impossible Proc\u00e8s des Guadeloup\u00e9ens : Une dialectique fragile s\u2019impose<\/a><\/p>\n

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

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

Section Editor: Don Rubin<\/b> (Canada)<\/p>\n\n\n

\"\"<\/a>\n

Ivo van Hove: From Shakespeare to David Bowie<\/a><\/p>\n

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

State of Paralysis: A Cultural History of Brexit<\/a><\/p>\n

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

Modernism and Scottish Theatre Since 1969<\/a><\/p>\n

Book Reviews<\/a>, by Mark Fisher<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Directions for Directing: Theatre and Method<\/a><\/p>\n

Book Reviews<\/a>, by Amy S. Green<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Corps marron : Les po\u00e9tiques de marronnage des dramaturgies afro-contemporaines<\/a><\/p>\n

Book Reviews<\/a>, by Selim Lander<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

Table of Contents Special Topic: The Art Form of Contemporary Puppetry Guest Editors: Margareta S\u00f6renson (Sweden) and Jean-Pierre Han (France) Essays Section Editor: Yun-Cheol Kim (S. Korea) National Reports Section Editor: Savas Patsalidis (Greece) Interviews Section Editor: Savas Patsalidis (Greece) Performance Reviews Section Editor: Matti Linnavuori (Finland) Book Reviews Section<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-17","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/PaUXOT-h","_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/pages\/17","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=17"}],"version-history":[{"count":14,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/pages\/17\/revisions"}],"predecessor-version":[{"id":1063,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/pages\/17\/revisions\/1063"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/media?parent=17"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}