{"id":706,"date":"2019-12-09T07:15:00","date_gmt":"2019-12-09T07:15:00","guid":{"rendered":"https:\/\/www.critical-stages.org\/20\/?p=706"},"modified":"2022-02-05T13:33:28","modified_gmt":"2022-02-05T13:33:28","slug":"ariadnes-stage-metamorphosis-in-buenos-aires","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/20\/ariadnes-stage-metamorphosis-in-buenos-aires\/","title":{"rendered":"Ariadne\u2019s Stage Metamorphosis in Buenos Aires"},"content":{"rendered":"\n

Halima Tahan<\/strong>*<\/a><\/p>\n\n\n\n

Ariadne auf Naxos<\/em> by Richard Strauss. Creation Date: 26 July 2019, at Teatro Col\u00f3n, Buenos Aires, Argentina. Orquestra Estable del Teatro Col\u00f3n. Musical Director: Alejo P\u00e9rez. Stage Director: Marcelo Lombardero. Stage designer: Diego Siliano. Costume design: Luciana Gutman. Prima Donna and Ariadna: Carla Filipcic Holm. Tenor and Baco: Gustavo L\u00f3pez Manzitti. Compositor: Jennifer Holloway. Zerbinetta: Ekaterina Lekhina. Maestro de m\u00fasica: Hern\u00e1n Iturralde. Maestro de danza Scaramuccio: Pablo Urban. Arlequ\u00edn: Luciano Garay. Brighella: Santiago Martinez. Truffaldino: Iv\u00e1n Garcia. N\u00e0yade: Laura Pisani. Dr\u00ecade: Florencia Machado. Eco: Victoria Gaeta.<\/strong><\/p>\n\n\n\n

\"\"
The soprano Carla Filipcic Holm in the role of Ariadne. Photo: Prensa Teatro Col\u00f3n\/ Maximo Parpagnoli<\/figcaption><\/figure><\/div>\n\n\n\n

To meet again the tragic Ariadne, abandoned on Naxos, is an unusual event, especially if it takes place on the edge of the world in the company of the celebrated characters of commedia dell\u2019 arte. <\/em>This reunion was held on a stage considered worthy of its mythical lineage, the Col\u00f3n Theatre in Buenos Aires, during its 2019 season. An exceptional opera that speaks for itself, successfully confronting genres and world views with sparkling wit.<\/p>\n\n\n\n

A wide variety of Ariadnes have come into artistic\nexistence over the centuries. Each new version\u2014bringing with it a trail of\nreadings in the cultural footprints left by its predecessors\u2014puts into play the\nvariants of its own era (its own territoriality,\npoetry, culture and political and social perspective).\nThe version by Richard Strauss and Hugo von Hofmannsthal materialized in\nAriadne auf Naxos <\/em>(1916),[1]<\/sup><\/a> the opera in one act and a prologue which was considered innovative for the\ntime and is, as several specialists have stated, the most sophisticated comic opera ever written<\/em>.<\/p>\n\n\n\n

The following remarks aim at connecting the reader\nwith Marcelo Lombadero’s staging of Ariadne\nauf Naxos<\/em>, recently premiered at Col\u00f3n Theatre, with musical direction by\nMaestroAlejo P\u00e9rez and with the participation of an outstanding group\nof singers. The idea is that the reader should discover how Lombardero shaped\nthis new Ariadne <\/em>in Buenos Aires,\nthrough his own opinion and the variations he introduced in relation to\nStrauss’s opera.<\/p>\n\n\n\n

Lombardero, who has had a highly acclaimed artistic\ncareer,[2]<\/sup><\/a> sees himself as a \u201cvery traditional\u201d director who faces\nthe challenges of rethinking Ariadne auf\nNaxos <\/em>from that perspective. From thorough work on the sources, he seeks to\nprovide his own point of view as a starting point from which to retell the story.\nFor this director, Ariadne auf Naxos <\/em>is a tribute to opera. A tribute he emphasizes\nthrough humour to highlight the contradictions of the medium. His modus operandi<\/em> consists in exposing the\nchosen work to playfully foster the search for\n\u201cour own stereotypes, to have fun with them and\nwith the audience as well.\u201d<\/p>\n\n\n\n

The homage to opera paid by Strauss\u2019s Ariadne <\/em>is clearly shown; the director\nexplains, \u201cIn both of its parts, in the experimental prologue that looks for a\nnew form of recitative and in the second part, something more colloquial and\nnaturalist. This is an opera about opera. It gives us theatre people an\nopportunity to laugh at ourselves.\u201d The audience also takes plenty of pleasure\nin this.<\/p>\n\n\n\n

However, many decisions had to be made so that this\n\u201cchamber format\u201d opera could fully pay tribute to this genre in a theatre such as Col\u00f3n. According to the musical\ndirector of the opera, Alejo P\u00e9rez, the pit had to be elevated so that it could\nalmost reach the stage level, and the string section was minimized. In addition\nto this, the stage design by Diego Siliano was really effective, since it\nworked as a kind of \u201cacoustic shape.\u201d<\/p>\n\n\n\n

\"\"
The tenor Gustavo L\u00f3pez Manzitti in the role of Bacchus. Photo: Prensa Teatro Col\u00f3n\/ Arnaldo Colombaroli<\/figcaption><\/figure><\/div>\n\n\n\n

Updating the role of the composer, who appears in the prologue, was a further decision made by Lombardero. In Strauss\u2019s Ariadne<\/em>, set in the eighteenth century, the character was performed by a woman; the travesti<\/em> role of the composer was suggested by the librettist at that time; the voice had to be young (it had to refer to Mozart as well). In the Buenos Aires production, the role is played by a woman too, but she is not dressed like a man. It was decided to leave her as \u201cwhat she is: a woman.\u201d Her costume is quite ambiguous, however, since it is impossible to think of this character as \u201cwearing men\u2019s clothes\u201d nowadays\u2014because \u201cwe live in a unisex era,\u201d concludes the director. (And besides, the character would not be in line with the hyper-realistic features of the play.)<\/p>\n\n\n\n

Lombardero has set Ariadne\n<\/em>in a contemporary world, indicating that it may occur either here in Buenos\nAires or in Punta del Este,[3]<\/sup><\/a> in the mansion owned by a man who has\nhired two groups: one of them presenting a neo-baroque show, the other\nappearing as a \u201ccheap\u201d musical comedy group. The director explains that despite\nkeeping the same elements, he has tried to bring them up to our present time,\nhighlighting the conflicts and contradictions between both worlds.<\/p>\n\n\n\n

\"\"
The director Marcelo Lombardero. Photo: Prensa Teatro Col\u00f3n<\/figcaption><\/figure><\/div>\n\n\n\n

The comedy group, identified in Strauss\u2019s work with\nthe iconic commedia dell’ arte <\/em>characters, is\nshown under the kitsch-pop influence in Lombardero\u2019s mise en sc\u00e8ne <\/em>(the group\u2019s diva, Zerbinetta, appears on stage\nwearing clothes whose style clearly refers to a well-known international pop\nsinger). Meanwhile, in the serious opera prepared by the other group, baroque\nfeatures have been accentuated. Its young composer, present on stage, defines\nhis play Ariadne auf Naxos<\/em> as \u201can allegory of human loneliness.\u201d In\nopposition to that view, the fickle Zerbinetta appears as Ariadne\u2019s \u201cearthly\nopposite,\u201d an Ariadne that has been abandoned by Theseus on the island of Naxos\nand inconsolably wishes to be dead. Instead, Bacchus\u2014by nature the god of the\nsecond chance, of the second life\u2014arrives to change her with redeeming love.<\/p>\n\n\n\n

In the mansion, the groups are getting ready. Both plays will have to finish before the firework\ndisplay starts, since this has been planned as the climax of the celebration\nfor which these two groups have been hired. (As Lombardero remarks, \u201cthe\nfireworks are the highlight of the evening: ignorant patrons have always\nexisted\u201d). The orders are given by the Butler\u2014the master\u2019s blunt porte-parole<\/em>\u2014who comes back to announce\nthat, as dinner has been delayed, both plays, with their completely different\nstyles, will have to be performed at the same time. How to do it will be their\nproblem.<\/p>\n\n\n\n

All the controversies among the performers\u2014which the\nbutler has intensified as a result of his last-minute changes, to the despair\nof the composer\u2014as well as the typical pre-show tensions, occur in the\nprologue. In the single act that follows the prologue, the audience witnesses\nthe opera Ariadne auf Naxos, <\/em>whose\npreparation and vicissitudes they have already witnessed.<\/p>\n\n\n\n

But, as the butler indicated, everything must finish\nbefore the start of the fireworks; so, in the final scene, although the show\nhas not yet finished, the technicians start dismantling the set and the singers\nbegin to return part of their costumes, while Ariadne\nand Bacchus, in absolute lyric effusiveness\u2014and in the middle of all the dismantling\u2014star in a metamorphosis drawn from their love\nencounter.<\/p>\n\n\n\n

\"\"
The actor Carlos Kaspar as Butler at the end of the show. Photo: Prensa Teatro Col\u00f3n\/ Arnaldo Colombaroli<\/figcaption><\/figure><\/div>\n\n\n\n

The butler, who started with all the preparation for the play in the prologue, reappears at the end (carrying the envelopes with the artists\u2019 fees); a sort of brief, sui generis, <\/em>epilogue. Outside, in the garden\u2014screened as a rear projection\u2014the guests can be seen admiring the fireworks through a large window.<\/p>\n\n\n\n

On the one hand, the dismantling of the set exposes\nthe artifice, demystifying the scene; on the other hand, the intensity of the\nsinging and the music enhances the mythical dimension of the play, ensuring the\npermanence of art (even in the middle of the fireworks’ din, which explodes on\nall the stages of this wide world). Once more, it is through its half-dressed\nperformers that Ariadne and Bacchus\u2019s myth appeals to the audience and delights\nthem, thanks to their powerful theatre intensity.<\/p>\n\n\n\n

Ariadne<\/em>\u2019s return to Col\u00f3n Theatre, after an absence of 26\nyears, has also fostered a reunion with Richard Strauss\u2019s opera librettist, the\nplaywright and poet Hugo von Hofmannsthal, an innovator in the field of dramatic\nwriting and one of the first representatives of modern non-illusionist theatre.\nAriadne<\/em>\u2019s libretto is the most\naccomplished example of this conception.<\/p>\n\n\n\n

\n\n\n\n

Note: <\/strong>The opinions of Marcelo Lombardero expressed in the text come from the\nconversation that the author of the article held with him in Buenos Aires, in\nAugust 2019.<\/p>\n\n\n\n

\n\n\n\n

[1]<\/sup><\/a>This opera had a first version premiered in Stuttgart in 1912 without\ngreat success. In 1911, Hofmannsthal had adapted Le Bourgeois Gentilhomme<\/em> for the Deutsches Theaterand proposed to replace the divertissement<\/em> of the play with a\nserious work: Ariadne auf Naxos; <\/em>Richard\nStrauss composed this opera in addition to the music for Moli\u00e8re\u2019s piece.<\/p>\n\n\n\n

[2]<\/sup><\/a>Marcelo Lombardero is an opera singer and director. He has worked in\ntheatres around Europe and America, receiving awards in Poland, Chile, Mexico\nand Argentina. He was artistic\ndirector of Teatro Colon and Teatro Argentino \nde la Plata.<\/p>\n\n\n\n

[3]<\/sup><\/a>Punta del Este, usually referred to\nas “the Monaco of the South,” is a city and resort on the Atlantic\nCoast, in the Maldonado Department of southeastern Uruguay. <\/a><\/p>\n\n\n\n

\n\n\n\n\"\"
 \n\n\n\n

*<\/a>Halima Tahan<\/strong> (PhD) is a writer,\u00a0critic and editor. At present, she is director in Ediciones Artes del Sur and a member of the Instituto de Artes del Espect\u00e1culo, Facultad de Filosof\u00eda\/Universidad de Buenos Aires. In C\u00f3rdoba city, Argentina, where she graduated from the National University, she worked as a professor at the National University of C\u00f3rdoba\u00b4s Art School. She was curator of the program \u201cRituals of Passage\u201d in the San Martin Theatre, Ministerio de Cultura de la Ciudad Buenos Aires. Her articles have been published in numerous books and magazines in her country and abroad. She has participated in juries of national and foreign theatrical awards and is a member of the editorial board of Critical Stages<\/em> (AICT\/UNESCO).<\/p>\n\n\n\n

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

\"Creative<\/a><\/figure><\/div>\n\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":709,"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_post_was_ever_published":false},"categories":[7],"tags":[],"class_list":["post-706","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-performance-reviews"],"jetpack_featured_media_url":"https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/PHOTO-2.jpg","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":713,"url":"https:\/\/www.critical-stages.org\/20\/italian-theatre-today-not-a-system-and-so-many-transformations\/","url_meta":{"origin":706,"position":0},"title":"Italian Theatre Today: Not a System, and so Many Transformations","author":"Halima Tahan","date":"December 16, 2019","format":false,"excerpt":"Roberto Canziani* Abstract Far from being a system, the Italian scene is an agglomeration where historical events, linguistic varieties, places of creation, small and large legislative provisions and artists' personality shake the theatres and their audiences in an animated chaos. This paper is an account of the various trends and\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\/Image6.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\/Image6.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/Image6.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/Image6.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":523,"url":"https:\/\/www.critical-stages.org\/20\/at-the-end-of-the-day-an-actor-interview-with-tiago-rodrigues\/","url_meta":{"origin":706,"position":1},"title":"At the End of the Day, an Actor: Interview with Tiago Rodrigues","author":"Halima Tahan","date":"December 3, 2019","format":false,"excerpt":"by Rui Pina Coelho* 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\u2026","rel":"","context":"In "Interviews"","block_context":{"text":"Interviews","link":"https:\/\/www.critical-stages.org\/20\/category\/interviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image8.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.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image8.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.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":592,"url":"https:\/\/www.critical-stages.org\/20\/macbettu-immersing-in-the-hollow-crown\/","url_meta":{"origin":706,"position":2},"title":"Macbettu: Immersing in the \u201cHollow Crown\u201d","author":"Halima Tahan","date":"December 9, 2019","format":false,"excerpt":"Penelope Chatzidimitriou* Teatro di Sardegna, Macbettu by William Shakespeare, dir. Alessandro Serra. Real Magic by Forced Entertainment, dir. Tim Etchells. Seen at the 54th Demetria Festival, October 2019, Thessaloniki, Greece. Macbettu, one of the major international performances featured in the 54th Demetria Festival in Thessaloniki, Greece, does not turn Shakespearean\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\/Macbettu-Photo-4.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\/Macbettu-Photo-4.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/Macbettu-Photo-4.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/Macbettu-Photo-4.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":827,"url":"https:\/\/www.critical-stages.org\/20\/modern-scottish-theatre-emerging-from-the-shadow-of-the-reformation\/","url_meta":{"origin":706,"position":3},"title":"Modern Scottish Theatre: Emerging from the Shadow of the Reformation","author":"Halima Tahan","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":127,"url":"https:\/\/www.critical-stages.org\/20\/german-theatre-interventions-and-transformations\/","url_meta":{"origin":706,"position":4},"title":"German Theatre: Interventions and Transformations","author":"Halima Tahan","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":534,"url":"https:\/\/www.critical-stages.org\/20\/theatre-at-the-crossroads-trends-and-challenges-of-georgian-theatre-today\/","url_meta":{"origin":706,"position":5},"title":"Theatre at the Crossroads: Trends and Challenges of Georgian Theatre Today","author":"Halima Tahan","date":"December 3, 2019","format":false,"excerpt":"Natalia Tvaltchrelidze* Abstract The paper overviews recent tendencies in the theatre life in Georgia. In particular, it presents the latest statistical data and audience research on theatre; it discusses theatre festival life in Georgia and the latest trends in the productions of young directors in the country.Keywords: Georgia, theatre, festivals,\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\/image5-3.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\/image5-3.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image5-3.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image5-3.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/posts\/706","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=706"}],"version-history":[{"count":4,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/posts\/706\/revisions"}],"predecessor-version":[{"id":1207,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/posts\/706\/revisions\/1207"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/media\/709"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/media?parent=706"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/categories?post=706"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/tags?post=706"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}