{"id":376,"date":"2016-02-14T14:52:11","date_gmt":"2016-02-14T14:52:11","guid":{"rendered":"https:\/\/www.critical-stages.org\/2\/?page_id=376"},"modified":"2016-02-14T14:52:12","modified_gmt":"2016-02-14T14:52:12","slug":"essays","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/2\/essays\/","title":{"rendered":"Essays"},"content":{"rendered":"<div class=\"pt-cv-wrapper\"><div class=\"pt-cv-view pt-cv-grid pt-cv-colsys\" id=\"pt-cv-view-135d50c2e3\"><div data-id=\"pt-cv-page-1\" class=\"pt-cv-page\" data-cvc=\"2\"><div class=\"col-md-6 col-sm-6 col-xs-12 pt-cv-content-item pt-cv-1-col\" ><div class='pt-cv-ifield'><a href=\"https:\/\/www.critical-stages.org\/2\/effet-dibbouk-effet-spectre-le-theatre-de-la-memoire-douloureuse\/\" class=\"_self pt-cv-href-thumbnail pt-cv-thumb-default\" target=\"_self\" ><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.critical-stages.org\/2\/wp-content\/uploads\/sites\/4\/2016\/02\/CarolDidier-150x150.jpg\" class=\"pt-cv-thumbnail\" alt=\"\" srcset=\"https:\/\/www.critical-stages.org\/2\/wp-content\/uploads\/sites\/4\/2016\/02\/CarolDidier-150x150.jpg 150w, https:\/\/www.critical-stages.org\/2\/wp-content\/uploads\/sites\/4\/2016\/02\/CarolDidier-270x270.jpg 270w, https:\/\/www.critical-stages.org\/2\/wp-content\/uploads\/sites\/4\/2016\/02\/CarolDidier-230x230.jpg 230w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/a>\n<h4 class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/2\/effet-dibbouk-effet-spectre-le-theatre-de-la-memoire-douloureuse\/\" class=\"_self\" target=\"_self\" >Effet-dibbouk, effet-spectre : le th\u00e9\u00e2tre de la m\u00e9moire douloureuse<\/a><\/h4><\/div><\/div>\n<div class=\"col-md-6 col-sm-6 col-xs-12 pt-cv-content-item pt-cv-1-col\" ><div class='pt-cv-ifield'><a href=\"https:\/\/www.critical-stages.org\/2\/beyond-representation-re-membering-the-ghosts-of-recent-history-in-contemporary-performance\/\" class=\"_self pt-cv-href-thumbnail pt-cv-thumb-default\" target=\"_self\" ><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.critical-stages.org\/2\/wp-content\/uploads\/sites\/4\/2016\/02\/tomlin-liz-150x150.jpg\" class=\"pt-cv-thumbnail\" alt=\"\" srcset=\"https:\/\/www.critical-stages.org\/2\/wp-content\/uploads\/sites\/4\/2016\/02\/tomlin-liz-150x150.jpg 150w, https:\/\/www.critical-stages.org\/2\/wp-content\/uploads\/sites\/4\/2016\/02\/tomlin-liz.jpg 230w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/a>\n<h4 class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/2\/beyond-representation-re-membering-the-ghosts-of-recent-history-in-contemporary-performance\/\" class=\"_self\" target=\"_self\" >Beyond Representation: Re-membering the \u2018Ghosts\u2019 of Recent History in Contemporary Performance<\/a><\/h4><\/div><\/div>\n<div class=\"col-md-6 col-sm-6 col-xs-12 pt-cv-content-item pt-cv-1-col\" ><div class='pt-cv-ifield'><a href=\"https:\/\/www.critical-stages.org\/2\/du-moujik-au-kolkhozien-ou-comment-representer-la-campagne-sur-la-scene-sovietique\/\" class=\"_self pt-cv-href-thumbnail pt-cv-thumb-default\" target=\"_self\" ><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.critical-stages.org\/2\/wp-content\/uploads\/sites\/4\/2016\/02\/1017874731-150x150.png\" class=\"pt-cv-thumbnail\" alt=\"\" \/><\/a>\n<h4 class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/2\/du-moujik-au-kolkhozien-ou-comment-representer-la-campagne-sur-la-scene-sovietique\/\" class=\"_self\" target=\"_self\" >Du moujik au kolkhozien  ou comment repr\u00e9senter la campagne sur la sc\u00e8ne sovi\u00e9tique<\/a><\/h4><\/div><\/div>\n<div class=\"col-md-6 col-sm-6 col-xs-12 pt-cv-content-item pt-cv-1-col\" ><div class='pt-cv-ifield'><a href=\"https:\/\/www.critical-stages.org\/2\/portugals-african-communities-on-stage\/\" class=\"_self pt-cv-href-thumbnail pt-cv-thumb-default\" target=\"_self\" ><img loading=\"lazy\" decoding=\"async\" width=\"140\" height=\"150\" src=\"https:\/\/www.critical-stages.org\/2\/wp-content\/uploads\/sites\/4\/2016\/02\/1168567709-140x150.png\" class=\"pt-cv-thumbnail\" alt=\"\" \/><\/a>\n<h4 class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/2\/portugals-african-communities-on-stage\/\" class=\"_self\" target=\"_self\" >Portugal&#8217;s African communities on stage<\/a><\/h4><\/div><\/div>\n<div class=\"col-md-6 col-sm-6 col-xs-12 pt-cv-content-item pt-cv-1-col\" ><div class='pt-cv-ifield'><a href=\"https:\/\/www.critical-stages.org\/2\/orthography-and-identity-in-search-of-a-language-for-creole-theatre\/\" class=\"_self pt-cv-href-thumbnail pt-cv-thumb-default\" target=\"_self\" ><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.critical-stages.org\/2\/wp-content\/uploads\/sites\/4\/2016\/02\/1271843961-150x150.png\" class=\"pt-cv-thumbnail\" alt=\"\" \/><\/a>\n<h4 class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/2\/orthography-and-identity-in-search-of-a-language-for-creole-theatre\/\" class=\"_self\" target=\"_self\" >Orthography and Identity: In search of a Language for Creole Theatre<\/a><\/h4><\/div><\/div>\n<div class=\"col-md-6 col-sm-6 col-xs-12 pt-cv-content-item pt-cv-1-col\" ><div class='pt-cv-ifield'><a href=\"https:\/\/www.critical-stages.org\/2\/the-apocalypse-in-us-purcaretes-faust\/\" class=\"_self pt-cv-href-thumbnail pt-cv-thumb-default\" target=\"_self\" ><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.critical-stages.org\/2\/wp-content\/uploads\/sites\/4\/2016\/02\/Ludmila-Patlanjoglu-150x150.jpg\" class=\"pt-cv-thumbnail\" alt=\"\" srcset=\"https:\/\/www.critical-stages.org\/2\/wp-content\/uploads\/sites\/4\/2016\/02\/Ludmila-Patlanjoglu-150x150.jpg 150w, https:\/\/www.critical-stages.org\/2\/wp-content\/uploads\/sites\/4\/2016\/02\/Ludmila-Patlanjoglu-270x270.jpg 270w, https:\/\/www.critical-stages.org\/2\/wp-content\/uploads\/sites\/4\/2016\/02\/Ludmila-Patlanjoglu-300x300.jpg 300w, https:\/\/www.critical-stages.org\/2\/wp-content\/uploads\/sites\/4\/2016\/02\/Ludmila-Patlanjoglu-230x230.jpg 230w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/a>\n<h4 class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/2\/the-apocalypse-in-us-purcaretes-faust\/\" class=\"_self\" target=\"_self\" >The Apocalypse in Us: Purc\u0103rete\u2019s Faust<\/a><\/h4><\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"","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-376","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P7eLHg-64","_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/2\/wp-json\/wp\/v2\/pages\/376","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/2\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/2\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/2\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/2\/wp-json\/wp\/v2\/comments?post=376"}],"version-history":[{"count":0,"href":"https:\/\/www.critical-stages.org\/2\/wp-json\/wp\/v2\/pages\/376\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/2\/wp-json\/wp\/v2\/media?parent=376"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}