{"id":360,"date":"2019-05-28T14:21:32","date_gmt":"2019-05-28T14:21:32","guid":{"rendered":"https:\/\/www.critical-stages.org\/19\/?p=360"},"modified":"2022-02-06T20:03:47","modified_gmt":"2022-02-06T20:03:47","slug":"war-is-all-around-us","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/19\/war-is-all-around-us\/","title":{"rendered":"War Is All Around Us"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\"><strong>Tam\u00e1s J\u00e1szay<\/strong><a href=\"#end\" name=\"back\">*<\/a><\/p>\n\n\n\n<p class=\"has-light-green-cyan-background-color has-background wp-block-paragraph\"><strong>Interferences International Theatre Festival, Cluj-Napoca, Romania, <br>November 22-30 2018<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Interferences has become shorter\u2014for obvious financial\nreasons (as everywhere nowadays), but not only. Usually stretching into early\nDecember, this year the festival ended on November 30. This is no coincidence:\nexactly 100 years ago on December 1, 1918, the Alba Iulia National Assembly\ndeclared the union of Transylvania with the Romanian Kingdom.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The jubilee is a sensitive topic for Romanians and\nHungarians alike and it seems that the organisers, the Hungarian State Theatre\nof Cluj-Napoca, tactfully declined to choose between the extreme possibilities:\norganising a folk festival or a funeral rite. They were right: peace is a better\nchoice.<\/p>\n\n\n\n<div align=\"center\" style=\"text-align: center; font-size: 12px\"><iframe loading=\"lazy\" width=\"700\" height=\"393\" src=\"https:\/\/www.youtube.com\/embed\/HITuWoA8VXw?rel=0\" frameborder=\"0\" allowfullscreen=\"\"><\/iframe><br>Here is a clip of the entire programme for the 2018 edition<\/div><br>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><a href=\"https:\/\/www.youtube.com\/user\/kolozsvariszinhaz\/videos\" target=\"_blank\" rel=\"noreferrer noopener\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"411\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/kolozsvariszinhaz.jpg?resize=700%2C411&#038;ssl=1\" alt=\"\" class=\"wp-image-361\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/kolozsvariszinhaz.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/kolozsvariszinhaz.jpg?resize=300%2C176&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><\/a><figcaption>And here is a day-to-day reportage of the festival\u2019s goings-on<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">It was the impossible but necessary nature of peace that they chose as their topic, making War the motif of this edition. Although I am wary of festivals built around single keywords, I will not grumble: we in Hungary mostly ignored the centenary of the end of the First World War, although it wouldn\u2019t have hurt to remember and to be reminded.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Interferences has grown into an A-list, balanced\nfestival: relevant international contemporary artists came to Cluj-Napoca, but\nyoung makers were also showcased. This might be a question of taste, but the\nprogramme still featured plenty of ballast, although the presence of big stage\nproductions seemed especially beneficial, when compared to the ever narrowing\ncriteria of Hungarian festivals (apart from MITEM, the heavily subsidised\nfestival of the National Theatre in Budapest). The programme is in the hands of\nthe founder of Interferences, G\u00e1bor Tompa, artistic director and managing\ndirector of the Hungarian Theatre of Cluj since 1990, who in 2018 was elected\nas president of the Union of Theatres of Europe (UTE). The programme was\ncertainly determined by Tompa\u2019s interests, likings and commitments.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"467\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/interferences-2_BIR_5274.jpg?resize=700%2C467&#038;ssl=1\" alt=\"\" class=\"wp-image-366\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/interferences-2_BIR_5274.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/interferences-2_BIR_5274.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption>A scene from Milo Rau\u2019s <em>Compassion, the History of the Machine Gun<\/em>. Photo: Istv\u00e1n Bir\u00f3<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">This article presents, non-exhaustively, performances\nthat I found relevant from the first four days of the festival.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Milo Rau\u2019s <em>Compassion. The History of the Machine Gun <\/em>is certainly relevant to the Pan-European hypocrisy surrounding the refugee crisis. For Rau\u2019s work, see <a rel=\"noreferrer noopener\" aria-label=\"here (opens in a new tab)\" href=\"https:\/\/www.critical-stages.org\/18\/un-spectacle-dune-malsaine-ambiguite\/\" target=\"_blank\">here<\/a> and <a href=\"https:\/\/www.critical-stages.org\/14\/understanding-versus-experiencing-interview-with-erika-fischer-lichte\/\">here<\/a>.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"466\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/interferences-1_BIR_4464.jpg?resize=700%2C466&#038;ssl=1\" alt=\"\" class=\"wp-image-364\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/interferences-1_BIR_4464.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/interferences-1_BIR_4464.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption>Katharina Klar as Iphigenie and Anja Herden as her mother, Klytaimnestra, with the members of the chorus (Sophie Reiml, Marlene Hauser, Maren-Sophia Streich, Nadine Quittner and Eva Dorlass) facing the hidden plan of Menelaus. Photo: Istv\u00e1n Bir\u00f3<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Vienna&#8217;s Volkstheater made its debut in Cluj-Napoca,\nwith artistic director Anna Badora\u2019s 2017 production, one that gets right to\nthe point. It starts with the Trojan War (Euripides: <em>Iphigenia in Aulis<\/em>), then switches to the migrant crisis invisibly\nsubverting our present (Stefano Massini: <em>Occident\nExpress<\/em>). Euripides\u2019s classic is delivered in an informal, ironic tone in\nDamian Hitz\u2019s capacious, abstract, flashy space, covered ankle-deep in water\nthat can hinder or purify the characters. The backdrop features wind machines\n(motionless until the last moments), while chunks of marble stick out from the\nwater. We start with bored tranquillity: the future heroes of Troy are eager to\nset off at last, but the wind is still and the gods demand sacrifice.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"467\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/interferences-1_BIR_4661.jpg?resize=700%2C467&#038;ssl=1\" alt=\"\" class=\"wp-image-365\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/interferences-1_BIR_4661.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/interferences-1_BIR_4661.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption>The characters of <em>Occident Express<\/em> (Rainer Galke, Sebastian Pass, Katharina Klar, Jan Th\u00fcmer, Lukas Holzhausen and Anja Herden) on their way to Stockholm, after they got out of a human trafficker&#8217;s truck. Photo: Istv\u00e1n Bir\u00f3<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">This well-known story is presented not by heroes\ncarved from marble but by everyday men and women who overvalue themselves.\nHence the humour of the piece and the loudness of the tragic moments. Family\ndrama mixes with politics, mythology entangles with history. Sharp acting from\nthe first part fades into a fair choral performance in the second and palpably\nlonger part: we witness the odyssey of Haifa, an elderly lady fleeing from Iraq\nto Stockholm in 2015 (she is portrayed by the actress playing Agamemnon\u2019s old\nservant). Short on action and long on narratives, this is hard to digest, let\nalone make exciting in theatrical terms. Obviously, the fate of contemporary\nrefugees migrating to an imagined Paradise touches our hearts, and it will\nsurely do no harm to listen to these stories over and over again, but,\nultimately, I felt it incomplete.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"467\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/interferences_3BIR_6021.jpg?resize=700%2C467&#038;ssl=1\" alt=\"\" class=\"wp-image-362\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/interferences_3BIR_6021.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/interferences_3BIR_6021.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption><em>Vaterland<\/em>: Faces from the glasshouse (J\u00f3zsef K\u00e1das, Lilla Barna, M\u00e1t\u00e9 Andr\u00e1ssy, N\u00f3ra Moln\u00e1r G., Barnab\u00e1s Horkay, N\u00f3ra F\u00f6lde\u00e1ki, M\u00e1rton Pallag and L\u00e1szl\u00f3 Feh\u00e9r) meet with the stranger in the village (Norbert Nagy). Photo: Istv\u00e1n Bir\u00f3<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Of the seventeen productions of the programme, three\nwere from Hungary. The 2018 premiere of Csaba Horv\u00e1th\u2019s <em>Vaterland<\/em> at Traf\u00f3 was an illustrious moment of our season, so I\nwas glad that the company made its Interferences debut with this piece.\nAlthough ours is no country for Thomas Bernhard\u2019s works, this undertaking is\nnoteworthy, not only due to its pioneering spirit. Director Csaba Horv\u00e1th and\ndramaturg Attila R\u00e1cz made a peculiar collage of texts from <em>The Italian<\/em>, as monomaniac as Bernhard\nhimself. Csaba Antal\u2019s set\u2014cut sideways and built from planes that slip into\neach another\u2014comes to life as a glasshouse concealing unutterable secrets, a\nsteep alpine gorge and a temporary station for middle-class people envisioning\nthemselves at the top rank of society.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"467\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/interferences_3BIR_6033.jpg?resize=700%2C467&#038;ssl=1\" alt=\"\" class=\"wp-image-363\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/interferences_3BIR_6033.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/interferences_3BIR_6033.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption>In <em>Vaterland<\/em>, L\u00e1szl\u00f3 Feh\u00e9r\u2019s character in the whirlpool of the villagers (members of Forte Company). Photo: Istv\u00e1n Bir\u00f3<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">The title denotes a mental landscape: in this two-hour\ngeography lesson, we examine the scenic Austrian land, finding only secrets and\nlies. Behind the apparent harmony there lies the conspiracy of merciless\nmurderers, eager to conceal their sins: if you were ever unsure why certain\ncompatriots of the utterly cynical Bernhard were not at all fond of him, now\nyou\u2019ll understand. The theatrical world of Horv\u00e1th is characterised by strong\nimages and mundane objects bestowed with new functions. Here, a story that\nrequires the intense attention of the audience unfolds bit by bit, and emerges\nfrom deep down. It is given a comic or morbid edge by re-using sizeable cattle\nscapulas as fans, instruments, catafalques, tombstones, and so on.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"467\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/velencei_kalmar_prb_bi-0017.jpg?resize=700%2C467&#038;ssl=1\" alt=\"\" class=\"wp-image-372\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/velencei_kalmar_prb_bi-0017.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/velencei_kalmar_prb_bi-0017.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption>In <em>The Merchant of Venice<\/em>, lovers on the stage: on the sofa, Bassanio (Bal\u00e1zs Bodolai) and Portia (Enik\u0151 Gy\u00f6rgyjakab); behind them, Nerissa (Csilla Albert) and Gratiano (Ervin Sz\u0171cs). Photo: Istv\u00e1n Bir\u00f3<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">The hosts presented their autumn premi\u00e8re, <em>The Merchant of Venice<\/em>, directed by\nG\u00e1bor Tompa. This ambitious production was somewhat disappointing, as it failed\nto deliver anything new about one of Shakespeare\u2019s most problematic pieces that\nfocuses, if you like, on the war between Jews and Christians. Drago\u0219 Buhagiar\u2019s\nmonumental and often dysfunctional set presents a world that is mechanical,\nrepulsive, utterly contemporary. In it\u2014as I later found out from characters\ndressed in steel-grey suits\u2014young sharks of Wall Street are causing tiny\nwhirlpools. In vain do they turn the 3,000 ducats borrowed from Shylock into\nthree million dollars: the story doesn\u2019t feel an inch closer to our world.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The performance fails to go beyond straightforward and\nlengthy storytelling: I have the feeling that none of Shakespeare&#8217;s lines is\nabsent. But there is something honestly surprising too, thanks to which I will\nremember more than just the awkward embarrassment I felt watching Portia&#8217;s lame\nsuitors. It\u2019s nothing new for the relationship between Antonio and Bassanio to\nbe more than just friendship, but I have never before encountered such depth\nand sensitivity in its portrayal. The result of this is new nuances in the\nrelationship between Portia (performed by a cool, peppery, exciting Enik\u0151\nGy\u00f6rgyjakab) and her suitor, Bassanio (Bal\u00e1zs Bodolai as a devoted, pure, serious\nlover). The shocking finale makes it clear that Antonio, Bassanio and Portia\nwill continue living as a threesome, with each of them closeted in their own\n(un)happiness.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"466\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/interferences-4_BIR_7827.jpg?resize=700%2C466&#038;ssl=1\" alt=\"\" class=\"wp-image-368\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/interferences-4_BIR_7827.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/interferences-4_BIR_7827.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption>An officer with Macbeth (Leonid Alimov) and the Lady (Maria Shulga) right after the murder of Duncan, king of Scotland. Photo: Istv\u00e1n Bir\u00f3<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">My minifestival ended with another Shakespeare, Luk\nPerceval\u2019s <em>Macbeth<\/em> from\nTheatre-Festival Baltic House, Saint Petersburg. This production, running since\n2014, is better described as a Macbeth study. I\u2019m not saying that Perceval, for\nthe third time directing Shakespeare\u2019s shortest play (and making it even\nshorter), only had time for a sketch, quite the opposite: you rarely see such\nconsistent directorial vision depressingly channelled into one single route.\nThe atmosphere of dark memories and visions is what sticks the most in the\nmind. It helps to know the original tragedy properly, if you wish to connect\nthe seemingly muddled sentences.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In this puzzle, the task is to understand the bizarre\nrelationship of Macbeth and his Lady. The robust, bulky, middle-aged Macbeth (Leonid Alimov)\nand the petite, fragile, young Lady Macbeth (Maria Shulga) are at the\ncentre of this pitch-dark cosmos. Their inability to conceive is key to the\nperformance: because they are incapable of creating new life, they kill. It is\nimpossible to take your eyes off the multiple witches, half a dozen mute, naked\nfemale beings, their hair almost sweeping the floor, seamlessly appearing and\ndisappearing onstage as in a nightmare.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"467\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/interferences-4_BIR_7872.jpg?resize=700%2C467&#038;ssl=1\" alt=\"\" class=\"wp-image-369\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/interferences-4_BIR_7872.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/interferences-4_BIR_7872.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption>  In one of the visions of Macbeth, Banquo (Roman Driablov) and his son, Fleance (Dmitriy Savchuk) stand at the back. In front, Macduff (Aleksandr Muravitskii, left) and Macbeth (Leonid Alimov). Photo: Istv\u00e1n Bir\u00f3<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">The minimalist set of Annette Kurz, composed of light, smoke and metal rods, is a true hit: the characters of this elliptically delivered story all sit, hang on to or negotiate these low-hanging bars. This is the battlefield of the soul: we are inside Macbeth\u2019s head, waging a bloody, eternal, hopeless war. <\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"168\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/Tamas_Jaszay_creditsby_Balazs_Turay.jpg?resize=150%2C168&#038;ssl=1\" alt=\"\" class=\"wp-image-371\" alignnone=\"\">\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"end\" href=\"#back\">*<\/a><strong>Tam\u00e1s J\u00e1szay<\/strong>\u00a0is a theatre critic, editor, university lecturer and curator. Since 2003, he has been working as a freelance theatre critic: in the last 15 years, he has published around 1,000 articles in more than 20 magazines all over the world, in ten languages altogether. Since 2008, he has been co-editor of the Hungarian critical portal\u00a0<a rel=\"noreferrer noopener\" href=\"https:\/\/eur01.safelinks.protection.outlook.com\/?url=http%3A%2F%2Fwww.revizoronline.com%2F&amp;data=02|01||8596a55e97b3408b3b9908d5f51cc485|84df9e7fe9f640afb435aaaaaaaaaaaa|1|0|636684426259816960&amp;sdata=KTDDE1UNrfFTaNOumgrqiLRBA6ktFZGhN%2BdwmDLNqmc%3D&amp;reserved=0\" target=\"_blank\">www.revizoronline.com<\/a>. Between 2009 and 2015, he was co-president of the Hungarian Theatre Critics&#8217; Association. In 2013, he defended his PhD thesis on the history of\u00a0Kr\u00e9tak\u00f6r\u00a0Theatre. Since February 2015, he has taught at Szeged University as a guest lecturer, and from September 2017, as an assistant lecturer.<\/p>\n\n\n\n<p class=\"has-text-align-center has-small-font-size wp-block-paragraph\">Copyright <strong>\u00a9<\/strong> 2019 Tam\u00e1s J\u00e1szay<br><em>Critical Stages\/Sc\u00e8nes critiques<\/em> e-ISSN: 2409-7411<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><a href=\"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/\" target=\"_blank\" rel=\"noreferrer noopener\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/wp-content\/uploads\/2021\/03\/88x31.png?w=750&#038;ssl=1\" alt=\"Creative Commons Attribution International License\"\/><\/a><\/figure><\/div>\n\n\n\n<p class=\"has-text-align-center has-small-font-size wp-block-paragraph\">This work is licensed under the<br>Creative Commons Attribution International License CC BY-NC-ND 4.0.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tam\u00e1s J\u00e1szay* Interferences International Theatre Festival, Cluj-Napoca, Romania, November 22-30 2018 Interferences has become shorter\u2014for obvious financial reasons (as everywhere nowadays), but not only. Usually stretching into early December, this year the festival ended on November 30. This is no<\/p>\n","protected":false},"author":1,"featured_media":364,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[7],"tags":[33],"class_list":["post-360","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-performance-reviews","tag-by-tamas-jaszay","","tg-column-two"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/05\/interferences-1_BIR_4464.jpg?fit=700%2C466&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/paUXOT-5O","_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/posts\/360","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/types\/post"}],"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=360"}],"version-history":[{"count":12,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/posts\/360\/revisions"}],"predecessor-version":[{"id":1303,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/posts\/360\/revisions\/1303"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/media\/364"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/media?parent=360"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/categories?post=360"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/tags?post=360"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}