{"id":1054,"date":"2021-02-12T14:59:27","date_gmt":"2021-02-12T14:59:27","guid":{"rendered":"https:\/\/www.critical-stages.org\/20\/?page_id=1054"},"modified":"2021-02-12T14:59:27","modified_gmt":"2021-02-12T14:59:27","slug":"table-of-contents","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/20\/table-of-contents\/","title":{"rendered":"Table of Contents"},"content":{"rendered":"\n
Special Topic<\/strong><\/h5>\n\n\n\n

AGEISM AND\/IN THEATRE<\/em><\/strong>
Guest Editors:\u00a0Yun Cheol Kim<\/a><\/strong>\u00a0(S. Korea) and\u00a0Manabu Noda<\/a><\/strong>\u00a0(Japan)<\/p>\n\n\n\n

A Note from the Guest Editors<\/a>
Manabu Noda and Yun Cheol Kim<\/p>\n\n\n\n

Creating Dance with Elders, and How to See It: Company of Elders in the World Gold Theatre Festival<\/a>
Katsuhiko Sakaguchi<\/p>\n\n\n\n

Countering Ageism and Eugenics in Theatre<\/a>
Akiko Tachiki<\/p>\n\n\n\n

Age and Politics in Early American Drama<\/a>
Zoe Detsi<\/p>\n\n\n\n

Dance and Age<\/a>
Margareta S\u00f6renson<\/p>\n\n\n\n

Insupportable vieillesse ?<\/a>
Jean-Pierre Han<\/p>\n\n\n\n

To Become Merged in the Sea . . . or On Old Women on Stage<\/a>
Soila Lehtonen<\/p>\n\n\n\n

Age on Stage<\/a>
Nancy Westman<\/p>\n\n\n\n

Reminiscence Drama in an Ageing World<\/a>
Katerina Kosti<\/p>\n\n\n\n

La vie des personnes \u00e2g\u00e9es \u00e0 l\u2019\u00e9poque n\u00e9o-lib\u00e9rale<\/a>
Jisoo Nam<\/p>\n\n\n\n

Essays<\/strong><\/h5>\n\n\n\n

MULTILINGUAL PERFORMANCE AND MIGRATION<\/em><\/strong>
Editor:\u00a0Yana Meerzon<\/a><\/strong>\u00a0(Canada)<\/p>\n\n\n\n

Introductory Words<\/a>
Yana Meerzon<\/p>\n\n\n\n

City Narratives in European Performances of Crisis: The Examples of Athens and Nicosia<\/a>
Avra Sidiropoulou<\/p>\n\n\n\n

A Case Study of the Intercultural Production of V\u00e4ike Jumalanna (The Little Goddess)<\/a>
Izumi Ashizawa<\/p>\n\n\n\n

The Drama(turgy) of Non-Belonging: Jeroen Coppens in Dialogue with Motus on Sharing Identity in Panorama<\/a>
Jeroen Coppens and Motus<\/p>\n\n\n\n

Seeking the Other: Staging the Paroxysms of Orientalism<\/a>
Yana Meerzon<\/p>\n\n\n\n

No Woman\u2019s Land: Walking as a Dramaturgical Device in Performance of Maternal Migration<\/a>
Rosie Garton and Ildik\u00f3 Rippel<\/p>\n\n\n\n

On Dramaturgy of Care and Encounter in the Theatres of Multilingualism: Interview with Ayham Majid Agha<\/a>
Yana Meerzon<\/p>\n\n\n\n

Movement through Language: A Reflection on the Use of Spoken Text in Dance Performances<\/a>
Rosa Lambert<\/p>\n\n\n\n

National Reports<\/strong><\/h5>\n\n\n\n

Editor:\u00a0Savas Patsalidis<\/a><\/strong>\u00a0(Greece)<\/p>\n\n\n\n

German Theatre: Interventions and Transformations<\/a>
Azadeh Sharifi<\/p>\n\n\n\n

Modern Scottish Theatre: Emerging from the Shadow of the Reformation<\/a>
Mark Brown<\/p>\n\n\n\n

Theatre in Malta: Amateur Practice and Professional Aspirations<\/a>
Vicki Ann Cremona<\/p>\n\n\n\n

Italian Theatre Today: Not a System, and so Many Transformations<\/a>
Roberto Canziani<\/p>\n\n\n\n

Theatre at the Crossroads: Trends and Challenges of Georgian Theatre Today<\/a>
Natalia Tvaltchrelidze<\/p>\n\n\n\n

Conference Papers<\/strong><\/h5>\n\n\n\n

Editor:\u00a0Ivan Medenica<\/a><\/strong>\u00a0(Serbia)<\/p>\n\n\n\n

Counterpublics Cause so Much Trouble: Oliver Frlji\u0107, Protest & Collectivity<\/a>
Bryce Lease<\/p>\n\n\n\n

Season of Discontent to \u201cSeasons of Love\u201d: Broadway Musicals in a Time of #MeToo<\/a>
Jeffrey Eric Jenkins<\/p>\n\n\n\n

Feigning Ignorance as a Way of Tolerating the Intolerable: Stage Scene in Japan 2017<\/a>
Manabu Noda<\/p>\n\n\n\n

Interviews<\/strong><\/h5>\n\n\n\n

Editor:\u00a0Savas Patsalidis<\/a><\/strong>\u00a0(Greece)<\/p>\n\n\n\n

American Theatre Now: Interview with Carlos Morton<\/a>
Katerina Delikonstantinidou<\/p>\n\n\n\n

At the End of the Day, an Actor: Interview with Tiago Rodrigues<\/a>
Rui Pina Coelho<\/p>\n\n\n\n

Performance Reviews<\/strong><\/h5>\n\n\n\n

Editor:\u00a0Matti Linnavuori<\/a><\/strong>\u00a0(Finland)<\/p>\n\n\n\n

Let\u2019s Start Love Over in Belgrade<\/a>
Tina Peri\u0107<\/p>\n\n\n\n

Dance in the Forest, an Example of Immersive Theatre<\/a>
Manuel Garcia Martinez<\/p>\n\n\n\n

Cotillion of Loss: Summoning August Wilson\u2019s African American Century<\/a>
Lissa Tyler Renaud<\/p>\n\n\n\n

Jacinto Benavente relance la Commedia dell\u2019arte au Canada<\/a>
Alvina Ruprecht<\/p>\n\n\n\n

Sankara, h\u00e9ros tragique<\/a>
Selim Lander<\/p>\n\n\n\n

Ariadne\u2019s Stage Metamorphosis in Buenos Aires<\/a>
Halima Tahan<\/p>\n\n\n\n

Macbettu<\/em>: Immersing in the \u201cHollow Crown\u201d<\/a>
Penelope Chatzidimitriou<\/p>\n\n\n\n

Men Punish Women in Pilsen<\/a>
Matti Linnavuori<\/p>\n\n\n\n

All Puppets, Large and Small\u2014in Qu\u00e9bec and the Czech Republic<\/a>
Mark Brown<\/p>\n\n\n\n

Book Reviews<\/strong><\/h5>\n\n\n\n

Editor:\u00a0Don Rubin<\/a><\/strong>\u00a0(Canada)<\/p>\n\n\n\n

The Theatrical Career of Samuel Morgan Smith<\/a>
Robin Breon<\/p>\n\n\n\n

Queer Shakespeare: Desire and Sexuality<\/a>
Sky Gilbert<\/p>\n\n\n\n

The Fictional Lives of Shakespeare<\/a>
Luke Prodromou<\/p>\n\n\n\n

Contre le th\u00e9\u00e2tre politique<\/a>
Selim Lander<\/p>\n\n\n\n

Critics on Criticism<\/strong><\/h5>\n\n\n\n

Criticism on the Critical List: Just a Canadian Issue?<\/a>
Robin Breon and Don Rubin<\/p>\n\n\n\n

Critics should never say in writing what they cannot dare to say to the subject in person: Interview with Ian Herbert<\/a>
Savas Patsalidis<\/p>\n\n\n\n

\u201cWith age, I get more tolerant of failure\u201d: Interview with Michael Billington<\/a>
Mark Fisher<\/p>\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":{"footnotes":""},"class_list":["post-1054","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":269,"url":"https:\/\/www.critical-stages.org\/20\/cs-issue-no-20-editors\/","url_meta":{"origin":1054,"position":0},"title":"CS Issue No 20 Editors","author":"cs2-admin","date":"October 29, 2019","format":false,"excerpt":"Special Topic Yun-Cheol Kim\u00a0obtained his PhD from BYU with his dissertation on contemporary American Drama. He served as President of the International Association of Theatre Critics (IATC) from 2008 till 2014. During his presidency he launched IATC\u2019s journal\u00a0Critical Stages\u00a0in 2009. Now he is an honorary president of the Association. He\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/Yun-Cheol_Kim-2.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":804,"url":"https:\/\/www.critical-stages.org\/20\/editorial-note-critical-stages-scenes-critiques-is-ten-years-old\/","url_meta":{"origin":1054,"position":1},"title":"Editorial Note: We have a good reason to celebrate!","author":"cs2-admin","date":"December 28, 2019","format":false,"excerpt":"Savas Patsalidis* HAPPY NEW YEAR to all Critical Stages\/Sc\u00e8nes critiques (CS\/Sc) readers from all over the world. Our journal is ten years old and we have good reason to celebrate. Not only have we survived, we have also managed to substantially increase the numbers and the global reach of our\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/FR.png?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":869,"url":"https:\/\/www.critical-stages.org\/20\/note-editoriale-nous-avons-une-bonne-raison-de-celebrer\/","url_meta":{"origin":1054,"position":2},"title":"Note \u00e9ditoriale : Nous avons une bonne raison de c\u00e9l\u00e9brer !","author":"cs2-admin","date":"December 30, 2019","format":false,"excerpt":"Savas Patsalidis* BONNE NOUVELLE ANN\u00c9E \u00e0 tous les lecteurs de Critical Stages\/Sc\u00e8nes critiques (CS\/Sc) du monde entier. Notre revue a atteint dix ans, aussi avons-nous une bonne raison de c\u00e9l\u00e9brer. Non seulement avons-nous surv\u00e9cu, mais nous avons aussi r\u00e9ussi \u00e0 augmenter substantiellement le nombre et l\u2019envergure de notre lectorat qui\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/UK.png?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/pages\/1054","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/comments?post=1054"}],"version-history":[{"count":2,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/pages\/1054\/revisions"}],"predecessor-version":[{"id":1056,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/pages\/1054\/revisions\/1056"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/media?parent=1054"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}