{"id":4,"date":"2016-02-09T15:40:24","date_gmt":"2016-02-09T15:40:24","guid":{"rendered":"https:\/\/www.critical-stages.org\/2\/?page_id=4"},"modified":"2021-02-16T15:26:18","modified_gmt":"2021-02-16T15:26:18","slug":"contents","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/2\/","title":{"rendered":"Contents"},"content":{"rendered":"

Table of Contents<\/h1>\n

Editorial<\/a>
\nMaria Helena Ser\u00f4dio<\/p>\n

\n
Thalia Prize | Le Prix Thalie<\/span><\/h5>\n

Discours de Sofia: Remise du Prix Thalie<\/a>
\nJean-Pierre Sarrazac<\/p>\n

Jean-Pierre Sarrazac Before and After the Thalia Prize : Un Questionnaire de Proust<\/a>
\nRandy Gener<\/p>\n

\n
Theatre views \/ Visions du th\u00e9\u00e2tre<\/a><\/span><\/h5>\n
Playwright \/ Dramaturge<\/h6>\n

Gianina Carbunariu<\/a>
\nInterviewed by Ioana Moldovan<\/p>\n

Stage Designers\/ Sc\u00e9nographes<\/h6>\n

Dragos Buhagiar<\/a>
\nInterviewed by Ioana Moldovan<\/p>\n

Directors \/ Metteurs en sc\u00e8ne<\/h6>\n

Stan Lai (Lai Shengchuan)<\/a>
\nInterviewed by Lissa Tyler Renaud<\/p>\n

David Zinder<\/a>
\nInterviewed by Lissa Tyler Renaud<\/p>\n

\n
Special Files \/ Dossiers sp\u00e9ciaux<\/a><\/span><\/h5>\n
Augusto Boal<\/h6>\n

Remembering Boal<\/a>
\nIn\u00e1 Camargo Costa<\/p>\n

Notes on Boal\u2019s the Dialectical Practice<\/a>
\nS\u00e9rgio Carvalho<\/p>\n

Boal and Che: Side by Side on Stage<\/a>
\nZeca Ligi\u00e9ro<\/p>\n

Remembering Boal through images<\/a>
\nClara de Andrade<\/p>\n

Jean Genet<\/h6>\n

Nouvelles lectures de Genet en Cor\u00e9e<\/a>
\nShin Hyun-Sook<\/p>\n

\n
Essays<\/a><\/span><\/h5>\n
Painful Memories \/ M\u00e9moires douloureuses<\/h6>\n

Effet-dibbuk, effet spectre: Le th\u00e9\u00e2tre de la m\u00e9moire douloureuse<\/a>
\nCarole Guidicelli & Didier Plassard<\/p>\n

Beyond Representation: Re-membering the \u2018Ghosts\u2019 of Recent History in Contemporary Performance<\/a>
\nLiz Tomlin<\/p>\n

Du moujik au kolkhozien: ou Comment repr\u00e9senter la campagne sur la sc\u00e8ne sovi\u00e9tique<\/a>
\nMarie-Christine Autant-Mathieu<\/p>\n

Artistic Identities \/ Identit\u00e9s artistiques<\/h6>\n

Portugal’s African communities on stage<\/a>
\nCatarina Neves<\/p>\n

Orthography and Identity: In search of a Language for Creole Theatre<\/a>
\nTravis Weekes<\/p>\n

The Apocalypse in Us: Purc\u0103rete\u2019s Faust<\/a>
\nLudmila Patlanjoglu<\/p>\n

\n
Reviews (performances) \/ Analyses (spectacles)<\/a><\/span><\/h5>\n

Deux spectacles hors pair<\/a>
\nGeorges Banu<\/p>\n

Finnish Fathers and Daughters Drive around in Europe in It\u2019s a Girl!<\/a>
\nMatti Linnavuori<\/p>\n

Pour une analyse des spectacles – La \u201cfemme \u00f4t\u00e9e\u201d: L\u2019exemple de Fine Bone China, de et par Fran Barbe<\/a>
\nPatrice Pavis<\/p>\n

The Second Latvian Homer<\/a>
\nValda \u010cakare<\/p>\n

Une r\u00e9flexion sur la d\u00e9mocratie et ses valeurs<\/a>
\nIr\u00e8ne Sadowska-Guillon<\/p>\n

Portrait of an artist as a dramatic work: Orfeus<\/a>
\nBrent Meersman<\/p>\n

Le Woyzeck de Brigitte Haentjens : Une mise en sc\u00e8ne corporelle extr\u00eamement puissante<\/a>
\nAlvina Ruprecht<\/p>\n

Romeo, Juliet and the Romanian-Hungarian Love<\/a>
\nLudmila Patlanjoglu<\/p>\n

An International Theatre Festival in Tehran<\/a>
\nMaria Helena Ser\u00f4dio<\/p>\n

Le Tramway de Warlikowski: Son \u00e9l\u00e9gie et son horizon<\/a>
\nGeorges Banu<\/p>\n

\n
Book Reviews \/ Lectures<\/a><\/span><\/h5>\n

Encyclop\u00e9die mondiale des arts de la marionnette<\/a>
\nIr\u00e8ne Sadowska-Guillon<\/p>\n

Chinese Shakespeares: Two Centuries of Cultural Exchange<\/a>
\nLissa Tyler Renaud<\/p>\n

A Journal that Fills a Void<\/a>
\nSteve Capra<\/p>\n

\n
Theatre Voices \/ Voix th\u00e9\u00e2trales<\/a><\/span><\/h5>\n

Athol Fugard: A New theatre named in his honour<\/a>
\nInterviewed by Brent Meersman<\/p>\n

Jin-Chaek Sohn: A humanistic vision<\/a>
\nInterviewed by Soon-Ja Hur<\/p>\n

\n
Critics on criticism<\/a><\/span><\/h5>\n

Three Questions I Keep Asking Myself in Practicing Criticism<\/a>
\nYun-Cheol Kim<\/p>\n

Twenty-one Asides on Theatre Criticism<\/a>
\nMark Brown<\/p>\n

Too Important to Be Left to Amateurs<\/a>
\nDon Rubin<\/p>\n

Lady Anne\u2019s Blog: Some Initial Thoughts on the Evolution of Theatrical Commentary in South Africa<\/a>
\nTemple Hauptfleisch<\/p>\n

The Last Word<\/a>
\nPeter Hay<\/p>\n","protected":false},"excerpt":{"rendered":"

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