{"id":523,"date":"2019-12-03T20:02:30","date_gmt":"2019-12-03T20:02:30","guid":{"rendered":"https:\/\/www.critical-stages.org\/20\/?p=523"},"modified":"2023-03-15T11:40:06","modified_gmt":"2023-03-15T11:40:06","slug":"at-the-end-of-the-day-an-actor-interview-with-tiago-rodrigues","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/20\/at-the-end-of-the-day-an-actor-interview-with-tiago-rodrigues\/","title":{"rendered":"At the End of the Day, an Actor: Interview with Tiago Rodrigues"},"content":{"rendered":"\n

b<\/strong>y Rui Pina Coelho<\/strong>*<\/a><\/p>\n\n\n\n

Tiago Rodrigues is not only the most reputed theatre maker in the contemporary Portuguese theatre and performance landscape. He is one of the most prominent European artists. His approach tends to be Wellesian, finding in acting, writing and directing his most visible expressive tools. Currently Artistic Director of the D. Maria II National Theatre, in Lisbon, his artistic path is a paradigm of the trajectory Portuguese performance has followed in the last decades: a theatrical landscape lit up by an experimentalist libertarian flame, heavily engaged in collaborative processes.[1]<\/sup><\/a><\/p>\n\n\n\n

Born in 1977, Rodrigues co-founded\nand directed, with Magda Bizarro, the Mundo Perfeito<\/em> theatre company\nfrom 2003 to December 2014. Trained initially as an actor, he quickly became\ninterested in the work of those who were renewing the theatrical framework,\nsuch as T G Stan, with whom Rodrigues has maintained a long-term artistic\ncollaboration. First as an actor who wrote and often directed his own texts and,\nthen, also as a writer-director\u2014an unusual \u00e9crivain de plateau<\/em>\u2014his\nmulti-layered artistic activity touches the heart of the European artistic\ntheatrical tradition.<\/p>\n\n\n

\n
\"\"
Um outro fim para a menina Julia<\/em> (Another End for Miss Julie<\/em>), by Tiago Rodrigues. D. Maria II National Theatre (Helena Caldeira). Photo: Filipe Ferreira<\/figcaption><\/figure>\n<\/div>\n\n\n
The Artistic Direction of D. Maria II National Theatre<\/strong><\/h5>\n\n\n\n

Tiago Rodrigues\u2019 artistic activity\nover the last five years has been pretty much enwrapped in his work as Artistic\nDirector of the D. Maria II National Theatre. At the end of his fifth year on\nthe job, he makes a clear distinction between the objectives and goals\nestablished for his first three years and those that followed. During his first\nmandate (seasons 2015\/16\u20132017\/18), the accent was on opening the theatre’s\ndoors to a generation of artists that didn\u2019t normally present their work at the\nNational Theatre and on finding strategies to diversify audiences. This led to\na more risky and experimental programming and to a surprising conclusion:<\/p>\n\n\n\n

\n

The riskier the programme is, the more people come to the theatre. We were afraid that the number of spectators might diminish after one or two seasons, but the opposite happened. The more we experimented, the more the audience grew.<\/p>\n<\/blockquote>\n\n\n

\n
\"\"
Perigo Feliz,<\/em> by Tiago Rodrigues. \u00c9cole des Ma\u00eetres. Photo: pz<\/figcaption><\/figure>\n<\/div>\n\n\n

Notwithstanding the prioritization of these objectives, other goals were clearly pursued: <\/p>\n\n\n\n

\n

to consolidate the work with performances for young audiences (particularly for teenagers);
to \u201cget out of the building,\u201d and work with local communities, thus increasing the touring capacity of the National Theatre;
to continue the investment in a solid editorial and curatorial line;
and, most acutely, to push further the internationalization of Portuguese theatre. <\/p>\n<\/blockquote>\n\n\n\n

All this came to transform the\npublic perception of the role of the National Theatre in the Portuguese\ntheatrical landscape. <\/p>\n\n\n\n

\n

Over the first three years we had the notion that we were using the international recognition of my work as a lever to internationalize the performances produced at the National Theatre in the hope that, in a very short term, more Portuguese theatre makers, through that internationalization, might find further partners and start building their own international path. That came to happen with artists such as Monica Calle, Raquel Andr\u00e9, Miguel Fragata and In\u00eas Barahona, among others.<\/p>\n<\/blockquote>\n\n\n

\n
\"\"
Sopro<\/em> (2017),  by Tiago Rodrigues. D. Maria II National Theatre (Cristina Vidal). Photo: Filipe Ferreira<\/figcaption><\/figure>\n<\/div>\n\n\n

The second half of Rodrigues\u2019 Artistic Direction has been marked by a more focused effort at \u201ccultural diplomacy,\u201d promoting not only theatre makers and performances, but also playwrights, envisaging the National Theatre as a \u201cHouse of Authors.\u201d <\/p>\n\n\n\n

\n

Our project is a project of public service that wants to defend the sovereignty of artistic research, and therefore, a project where we understand public service as a place where artistic freedom, artistic research and authorial projects are protected. Projects that wouldn\u2019t probably survive in the \u201cmarket.\u201d As far as concerns the relationship with the public, one thing that was surprising for us was to see that this approach led to an increased audience. But this increase could not be understood as infinite. So, one of our main goals for the second mandate was to address those that didn\u2019t yet perceive themselves as a theatre audience. This is to say that the potential spectator of this theatre is every person on Portuguese territory, whether a Portuguese citizen or not.<\/p>\n<\/blockquote>\n\n\n

\n
\"\"
Sopro<\/em> (2017), by Tiago Rodrigues. D. Maria II National Theatre (Cristina Vidal and Isabel Abreu). Photo: Filipe Ferreira<\/figcaption><\/figure>\n<\/div>\n\n\n

All these actions are part of a more general understanding of what \u201cpublic service\u201d means in a cultural institution.<\/p>\n\n\n\n

\n

We cannot subjugate the work of an artist or a group of artists to the purposes of a \u201cpublic service.\u201d That\u2019s how the market works: it identifies a need and then produces goods for that need. A cultural public service needs to do exactly the opposite. We need to preserve the diversity of the artistic offer, and then promote the search for that offer. <\/p>\n<\/blockquote>\n\n\n\n

The\nRole of a National Theatre<\/strong><\/h5>\n\n\n\n

These\nconsiderations clearly deal with the present-day role of a \u201cNational Theatre.\u201d\nThe heritage of national theatres as they were understood in the eighteenth and\nnineteenth centuries\u2014to build and preserve national identities\u2014is still\nsomething worth considering, Rodrigues argues. But, he continues, this can be\nbetter achieved with a performance that deals with postcolonialism or with\nnational memory in a dialectical approach.<\/p>\n\n\n

\n
\"\"
Como Ela Morre<\/em> (The Way She Dies<\/em>), by Tiago Rodrigues. D. Maria II National Theatre (Jolente de Keersmaeker and Pedro Gil). Photo: Filipe Ferreira<\/figcaption><\/figure>\n<\/div>\n\n\n
\n

The work that a National Theatre can do is much more to question and to promote dialogue than to build a national identity within a specific territory and time. It doesn\u2019t exalt; it questions. Then again, that is the main difference between a liberal nineteenth century monarchy and a parliamentary democracy in 2019. That\u2019s the role of any \u201cstate theatre,\u201d not only a national theatre, but all theatres that are public institutions supported by central or local government. They must be a place for divergent and critical thinking. They must be places where we can defend a thinking that goes against a culture of efficacy, a thinking that doesn\u2019t need to be productive.<\/p>\n<\/blockquote>\n\n\n\n

When\nTiago Rodrigues was invited to be the Artistic Director of D. Maria II National Theatre,\nhe was already a theatre artist with an international reputation, on the brink\nof more widespread global recognition. This position had, obviously, an impact\non his career. <\/p>\n\n\n\n

\n

I had an independent theatre company where I\u2019d worked for twelve years. Always with many difficulties\u2014sadly, like many other Portuguese theatre companies. When I was invited to the National Theatre, I soon realized that the management, administration and programming were a very big component of the job\u2014a job that also expects its occupant to continue doing his artistic work. Sometimes people tell me: \u201cNow you can\u2019t focus on your creations. You have a theatre to direct with so many things to do!\u201d And I usually answer: \u201cFirst, I\u2019m not complaining. It is a privilege to be there. When I had my own company, I usually spent seventy per cent of my time trying to find the money to work and thirty per cent of the time creating. At the National Theatre the equation is similar, with the difference that now I spend most of the time thinking how to share the theatre’s artistic, financial and human resources with other artists.

This job was not something that I had on my horizon. When the invitation was made, after the initial shock, I thought it was something natural, something that I could do. A role that I could perform: the idea of being able to imagine a programme, a dynamic and a spirit of a theatre venue and to contribute to building a place of Artistic Freedom. There is no sign on the National Theatre facade where the words \u201cNational Theatre\u201d can be seen. But if there were one, I would like to see \u201cArtistic Freedom\u201d written there. Artistic Freedom is probably the most important value to defend today. Nowadays, in order to defend Artistic Freedom, one must have many other essential things. Without proper work conditions, without funding, without proper support, without vision, without cultural policy, there will be no Artistic Freedom.<\/p>\n<\/blockquote>\n\n\n

\n
\"\"
Como Ela Morre<\/em> (The Way She Dies), by Tiago Rodrigues. D. Maria II National Theatre (Frank Vercruyssen and Pedro Gil). Photo: Filipe Ferreira<\/figcaption><\/figure>\n<\/div>\n\n\n
On the \u201cThirty Per Cent\u201d: The Performances<\/strong><\/h5>\n\n\n\n

Tiago\nRodrigues\u2019 performances often start from a biographical note, a true story, a\ndocument, a relationship with an event or with the real, transformed through\nartistic invention and through the rhetoric of performance. <\/p>\n\n\n\n

\n

It is not something that I pursue as a thesis or a methodology. It is something that I notice. It often happens that I have found myself wrapped up in a performance that starts from something that I\u2019ve seen, a reality that I\u2019ve discovered, a public event that I\u2019ve witnessed. It is not something that I think a priori: \u201cthat is the way I do theatre.\u201d But a posteriori<\/em> I recognize that I\u2019m doing the same thing again. I saw a prompter and then I met her and I worked with her . . . and here I am, starting from Cristina Vidal\u2019s life and work, creating a fiction [Sopro<\/em>]; my grandmother asked me to advise her on the title of the last book she should read, because she was going blind and there I was, thinking how could I stage this story [By Heart<\/em>].

Inevitably, my impulse to make a performance and to convince others to do it with me has to do with something that has happened to me, or something that I have read that happened to others. That is probably why, despite my gigantic will to stage other texts, I haven\u2019t done it yet. Even when I deal with an adaptation, it is not only Antony and Cleopatra<\/em>, it is not only [Madame<\/em>] Bovary<\/em>, it is not only Anna Karenina<\/em> [the way she dies] that seduces me; it is my own relationship to those texts, or the links I establish between those texts and the realities that I observe. <\/p>\n<\/blockquote>\n\n\n

\n
\"\"
Como Ela Morre<\/em> (The Way She Dies), by Tiago Rodrigues. D. Maria II National Theatre (Pedro Gil, Isabel Abreu, Jolente de Keersmaeker and Frank Vercruyssen). Photo: Filipe Ferreira<\/figcaption><\/figure>\n<\/div>\n\n\n

Tiago Rodrigues’ multi-layered theatrical activity is built around a triangle where acting, directing and writing are the vertices. <\/p>\n\n\n\n

\n

I continue to look at theatre from an actor\u2019s point of view. I try to write as an actor would write. I try to direct as an actor would direct. And what I value the most, in all the rehearsal process, are the actors. I write for the actors and through the actors. I direct in a constant dialogue with the actors. I think I have never told an actor, \u201cYou should do it like this.\u201d I can argue about what I\u2019m looking for and why, but I have never had a \u201cvision.\u201d I have zero imagination for that. I cannot visualize a performance. I have absolutely no image in my head before the performance exists. My performances are much more a consequence of the process (visually, its tone . . .). The process is not a path to arrive at the initial vision. I don\u2019t have a predetermined goal. What interests me is the process and I do truly believe that the rehearsal process will produce something.

Even when I\u2019m writing. I have tremendous difficulty in visualizing what I\u2019m writing. What saves me is that I know for whom I\u2019m writing, and therefore I can imagine that a specific actor is saying those words to another specific actor. I see them chatting, but I have no idea what they are wearing, how the lights will be, the set . . . zero ability to imagine how things will happen.

Luckily, since I write a lot during rehearsals, there are sometimes samples available of the costumes or part of the set, so I can write of what I see and not imagine. In a sense, I write for actors in the way I wish others would write for me. And I direct in the way I would like directors to direct \u201cme.\u201d

At the end of the day, when I check in at a hotel and I have to fill in the box which asks for my profession I write: \u201cactor.\u201d<\/p>\n<\/blockquote>\n\n\n\n

\n\n\n\n
Endnote<\/strong><\/h5>\n\n\n\n

[1]<\/sup><\/a>This interview is the result of a two-hour\nconversation in Portuguese, subsequently translated by me. The selection and emphasis are my responsibility. <\/a><\/p>\n\n\n\n

\n\n\n\n\"\"
 \n\n\n\n

*<\/a>Rui Pina Coelho <\/strong>(1975) is an Assistant Professor at the School of Arts and Humanities of the University of Lisbon. He has a PhD in Theatre Studies, and he is currently a researcher at the Centre for Theatre Studies (UL). He is the Director of Sinais de Cena: Performing Arts and Theatre Studies Journal<\/em>. He has published Ant\u00f3nio Pedro<\/em> (Colec\u00e7\u00e3o Biografias do Teatro Portugu\u00eas, CET\/ TNDMII\/ IN-CM, 2017) and A hora do crime: A viol\u00eancia na dramaturgia brit\u00e2nica do p\u00f3s-Segunda Guerra Mundial (1951-1967)<\/em> (Peter Lang, 2016), among other titles. He has coordinated the volume Contemporary Portuguese Theatre: Experimentalism, Politics and Utopia<\/em> (2017). He coordinates the Theatre Writing Laboratory of the D. Maria II National Theatre since 2015. Since 2010, he has been collaborating regularly with TEP\u2014Teatro Experimental do Porto\u2014as a playwright and dramaturgist.<\/p>\n\n\n\n

Copyright \u00a9<\/strong> 2019 Rui Pina Coelho
Critical Stages\/Sc\u00e8nes critiques<\/em> e-ISSN: 2409-7411<\/p>\n\n\n

\n
\"Creative<\/a><\/figure>\n<\/div>\n\n\n

This work is licensed under the
Creative Commons Attribution International License CC BY-NC-ND 4.0.<\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":525,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[5],"tags":[15],"class_list":["post-523","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews","tag-by-rui-pina-coelho"],"jetpack_featured_media_url":"https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image1-3.jpeg","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":517,"url":"https:\/\/www.critical-stages.org\/20\/creating-dance-with-elders-and-how-to-see-it-company-of-elders-in-the-festival-of-world\/","url_meta":{"origin":523,"position":0},"title":"Creating Dance with Elders, and How to See It: Company of Elders in the World Gold Theatre Festival","author":"Rui Pina Coelho","date":"December 3, 2019","format":false,"excerpt":"Katsuhiko Sakaguchi* Abstract The Company of Elders, produced by Sadler\u2019s Wells Theatre (U.K.), was invited by Saitama Arts Theatre (Japan) in 2018 as a model for dance companies which feature elderly performers. The article discusses how the triple bill by the company strived to explore the possibilities of creating dance\u2026","rel":"","context":"In "Special Topic"","block_context":{"text":"Special Topic","link":"https:\/\/www.critical-stages.org\/20\/category\/special-topic\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image3-1.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image3-1.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image3-1.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image3-1.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":127,"url":"https:\/\/www.critical-stages.org\/20\/german-theatre-interventions-and-transformations\/","url_meta":{"origin":523,"position":1},"title":"German Theatre: Interventions and Transformations","author":"Rui Pina Coelho","date":"December 29, 2019","format":false,"excerpt":"Azadeh Sharifi* The Epicentre and Its Eruption Abstract The past years have brought eruptive changes and transformation to the German theatre scene. Recent waves of migration, the #metoo movement and the political climate of the rise of far-right-parties have demanded serious action that were accompanied by protests and interventions. In\u2026","rel":"","context":"In "National Reports"","block_context":{"text":"National Reports","link":"https:\/\/www.critical-stages.org\/20\/category\/national-reports\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image2-4.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image2-4.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image2-4.jpeg?resize=525%2C300&ssl=1 1.5x"},"classes":[]},{"id":362,"url":"https:\/\/www.critical-stages.org\/20\/introductory-words\/","url_meta":{"origin":523,"position":2},"title":"Introductory Words","author":"Rui Pina Coelho","date":"November 11, 2019","format":false,"excerpt":"Yana Meerzon* Dear reader, I am happy to present the December 2019 \u201cESSAY SECTION\u201d (# 20) of the journal Critical Stages\/Sc\u00e8nes critiques. This section is dedicated to urgent issues related to theater and performance making, ways of thinking and writing about theatre and performing arts, ways of viewing and reflecting\u2026","rel":"","context":"In "Essays"","block_context":{"text":"Essays","link":"https:\/\/www.critical-stages.org\/20\/category\/essays\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/Meerzon.jpeg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":827,"url":"https:\/\/www.critical-stages.org\/20\/modern-scottish-theatre-emerging-from-the-shadow-of-the-reformation\/","url_meta":{"origin":523,"position":3},"title":"Modern Scottish Theatre: Emerging from the Shadow of the Reformation","author":"Rui Pina Coelho","date":"December 29, 2019","format":false,"excerpt":"Mark Brown* Abstract Scottish theatre has, arguably, enjoyed its richest period over the last half-century. This paper will seek to explain Scotland\u2019s relative lack of a historical theatre tradition and to explore the key elements in what the author proposes has been a \u201cEuropean modernist renaissance\u201d on the national stage\u2026","rel":"","context":"In "National Reports"","block_context":{"text":"National Reports","link":"https:\/\/www.critical-stages.org\/20\/category\/national-reports\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image8-4.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image8-4.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image8-4.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image8-4.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":583,"url":"https:\/\/www.critical-stages.org\/20\/dance-in-the-forest-an-example-of-immersive-theatre\/","url_meta":{"origin":523,"position":4},"title":"Dance in the Forest, an Example of Immersive Theatre","author":"Rui Pina Coelho","date":"December 10, 2019","format":false,"excerpt":"Manuel Garcia Martinez* Kunstenfestivaldesarts in Brussels, Belgium, May 2019. The Brussels Kunstenfestivaldesarts presented a great variety of shows that is difficult to summarize. Several sought to establish new forms of spectator involvement. Among the dance shows presented, Somnia, directed by choreographer Anne Teresa de Keersmaeker, was undoubtedly one of the\u2026","rel":"","context":"In "Performance Reviews"","block_context":{"text":"Performance Reviews","link":"https:\/\/www.critical-stages.org\/20\/category\/performance-reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/5.F%C3%BAria.Lia-Rodrigues.CiaRodriguesCompanhia-de-Dan%C3%A7as.2019-%C2%A9-Sammy-Landweer.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/5.F%C3%BAria.Lia-Rodrigues.CiaRodriguesCompanhia-de-Dan%C3%A7as.2019-%C2%A9-Sammy-Landweer.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/5.F%C3%BAria.Lia-Rodrigues.CiaRodriguesCompanhia-de-Dan%C3%A7as.2019-%C2%A9-Sammy-Landweer.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/5.F%C3%BAria.Lia-Rodrigues.CiaRodriguesCompanhia-de-Dan%C3%A7as.2019-%C2%A9-Sammy-Landweer.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":499,"url":"https:\/\/www.critical-stages.org\/20\/criticism-on-the-critical-list-just-a-canadian-issue\/","url_meta":{"origin":523,"position":5},"title":"Criticism on the Critical List: Just a Canadian Issue?","author":"Rui Pina Coelho","date":"December 14, 2019","format":false,"excerpt":"Robin Breon* and Don Rubin** The face of arts journalism is changing again\u2015and not for the better \u2015at least in Canada. Is it changing in other countries as well? In the last two to three years, major theatres and major festivals across the country have begun to cut back on\u2026","rel":"","context":"In "Critics on Criticism"","block_context":{"text":"Critics on Criticism","link":"https:\/\/www.critical-stages.org\/20\/category\/critics-on-criticism\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image12-1.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image12-1.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image12-1.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image12-1.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/posts\/523","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/types\/post"}],"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=523"}],"version-history":[{"count":8,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/posts\/523\/revisions"}],"predecessor-version":[{"id":1237,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/posts\/523\/revisions\/1237"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/media\/525"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/media?parent=523"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/categories?post=523"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/tags?post=523"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}