{"id":79,"date":"2019-10-08T18:34:06","date_gmt":"2019-10-08T18:34:06","guid":{"rendered":"https:\/\/www.critical-stages.org\/20\/?p=79"},"modified":"2026-06-22T11:43:15","modified_gmt":"2026-06-22T11:43:15","slug":"reminiscence-drama-in-an-ageing-world","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/20\/reminiscence-drama-in-an-ageing-world\/","title":{"rendered":"Reminiscence Drama in an Ageing World"},"content":{"rendered":"\n

Katerina Kosti<\/strong>*<\/a><\/p>\n\n\n\n

Abstract<\/strong><\/h5>\n\n\n\n

Today the world\u2019s population is ageing, due to both an ongoing decline in fertility and an accompanying increase in longevity. This poses a myriad of challenges for the elderly, most notably the creative use of leisure time. In this context, drama has the potential to promote a sense of meaning in life. A common relevant practice is reminiscence theatre, which aims to produce performances based on participants’ recorded stories of the past. Reminiscence drama and theatre is based on the theory of “life review,” according to which life is a sequence of choices that the individual can recollect towards the end of their life in order to acquire a sense of personal identity and appreciation, so as to be reconciled with the concept of loss. This paper seeks to explore the use of this theoretical framework in Greece, one of the world’s most ageing countries.
Keywords<\/strong>: Ageing, Reminiscence Theatre, Reminiscence Drama, life review, ego-integrity<\/p>\n\n\n\n

Introduction: Researching the Elderly<\/strong><\/h5>\n\n\n\n

\u03a4he\nincreasing number of elderly people[1]<\/sup><\/a> explains the surge of geriatric interest in recent years, but, unfortunately,\nit does not seem to have altered our dislike of old age. From antiquity to the\npresent day, old age is associated with decline and death (Lowenthal 1985). In\nmodern culture, youth, beauty and an active life are valued more than anything\nelse. On the other hand, old age and the consequent age-related\ndiseases, functional impairment\nand physical inability constitute the downside of Western civilization,\nwhere even the word “old” is considered as an insult (Dionigi 2015).<\/p>\n\n\n\n

The truth is far from these stereotyped perceptions.\nAn older adult is a person who continues to grow. S\/he is still an apprentice\nin the pursuit of happiness, joy and pleasure. In addition, s\/he is a person\nwho deserves respect and appreciation and whose job can be to synthesize the\nexperience of his\/her long life and to shape it into a legacy for future\ngenerations (Weiss 1984). This developmental dimension of old age opens up a\nnew creative action aimed at improving the lives of older people and, in turn,\nchanging society’s attitude towards ageing.<\/p>\n\n\n\n

Various interventions for the elderly have been\nproposed throughout the world. These include workshops on art, crafts,\ngardening, games, literature, history, music, painting and physical exercise\n(Age Concern 2002; Loveland 12). Often, these laboratories draw their themes\nfrom the past of the elderly, tending to establish the practice of “life\nreview,” as it is called by Robert Butler (1963), who argued that, in\norder to reach a satisfying level of enjoyment of life, the old person must\ndevelop mechanisms to renegotiate the lived experience by remembering what s\/he\nhas lived. It is precisely this enjoyment of life, the\n“ego-integrity” as Erik Erikson (1950) had previously called it, that\nis the prime aim of the third age movement, which deals with the basic need of\nhumans to reconcile with what s\/he has lived, his\/her successes and failures,\nand to move forward with courage towards the inevitable end.   <\/p>\n\n\n\n

The\nelderly have basic needs that differentiate them from others; they need to\ndevelop skills for making friends, coping with physical and mental\ndeterioration, responding to the threat of loneliness and depression, and\nmeeting boredom and loss (Haight and Haight 2007).\nHence a research approach such as the present one is particularly interesting\nfor our ageing world. Given that Greece is one of the most ageing countries in\nthe world (United Nations 2017), but also that specialized researchers have not\nyet dealt with the issue, the need to enrich research around this subject in\nthis country is imperative.<\/p>\n\n\n\n

This article suggests a possible framework\nfor reinforcing the enjoyment of life, the “ego-integrity” of older\npeople, in accordance with Erikson’s (1950) and Butler’s (1963) theories. It\ninvolves older people in a Greek local community and explores the connection\nbetween drama and their enjoyment of life.<\/p>\n\n\n\n

Reminiscence Drama and Theatre<\/strong><\/h5>\n\n\n\n

The international interest in developing interventions\nfor the elderly has paved the way for the development of “cultural gerontology,”\nwhich explores the phenomenon of ageing in a wider social and cultural context,\nnot as a problem, but as a cultural value (Rickett and Bernard 4-5). <\/p>\n\n\n

\n
\"\"
Reminiscence drama in a library. Photo: Katerina Kosti <\/figcaption><\/figure>\n<\/div>\n\n\n

Several relevant programmes and examples of good\npractice have been developed around the world. During the 1980s, an\norganization called Age Exchange was created in England by Pam Schweitzer with\nthe aim of organizing performances based on the memories of older people,\nproduced via specially structured reminiscence sessions or oral history\nprogrammes. The shows took place in community spaces, day care centres and\nretirement homes (Vandegrift 2014; Quinn 1989; Schweitzer 2007; Schweitzer\n2013a). During the 1990s the interest in such programmes was broadened in\nEurope. In this context, theatre programmes with\/for seniors were developed,\noften with intergenerational and intercultural content, including even groups\nof older adults suffering from cognitive impairment (Darling and Rymer 2014;\nSchweitzer 2013b; London Centre for Dementia Care 2009; Wilder 27-28; Wimmer\n2006; Amann 2003). <\/p>\n\n\n

\n
\"\"
Playing through reminiscence. Photo: Katerina Kosti<\/figcaption><\/figure>\n<\/div>\n\n\n

Based on this experience, I chose as subject for my\nresearch the exploration of an approach to the elderly through reminiscence\ndrama. Its purpose was to explore the deeper relationship linking this practice\nwith the approach of “ego-integrity” as an overall well-being\nparameter for people in the third age.<\/p>\n\n\n\n

Research Restrictions,\nAim and Method<\/strong><\/h5>\n\n\n\n

A\nmixed approach, of quantitative and qualitative orientation, according to the\nprinciples of empirical grounded theory (Charmaz 1995; Greene 2007; Victor et\nal. 2007) was considered the most appropriate method for this research.<\/p>\n\n\n\n

The research questions were:<\/p>\n\n\n\n

    \n
  1. Can an older adult\u2019s “ego-integrity” be positively impacted by
    drama?<\/li>\n\n\n\n
  2. If so, how can drama enhance the “ego-integrity” of an older
    person?\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/li>\n<\/ol>\n\n\n\n

    The qualitative approach responded to both of the\nresearch questions raised above, while the quantitative approach complemented\nand reinforced the qualitative in relation to the first question.<\/p>\n\n\n\n

    Fourteen (14) interventions with a group of elderly\nmembers of the local community of Nea Peramos, a semi-rural area of \u200b\u200bAttica\nnear Athens, were conducted to collect qualitative and quantitative data. <\/p>\n\n\n\n

    For the collection of control group data, a randomly\nmatched age group was set up in the nearby town of Megara and asked to fill in\ntwo questionnaires, before and after the intervention in the experimental\ngroup. The sampling was therefore theoretical: the sample members were\ntwenty-five (25) for the experimental group and twenty (20) for the control\ngroup, all over sixty-five (65) years old. Hence, the research design was\nquasi-experimental (Victor et al. 2007).<\/p>\n\n\n\n

    Since\nthe research exclusively concerns the population of a small provincial Greek\ncommunity, it is restricted, without claims to generalization. Its significance\nlies in the fact that it attempts to investigate the relationship between\nreminiscence drama and the third age, highlighting the possible influence of\ndrama and theatre in the “ego-integrity” of older people,\nspecifically while monitoring and describing the process of formulating causal\nrelationships.<\/p>\n\n\n\n

    Quantitative Analysis<\/strong><\/h5>\n\n\n\n

    The\nAccepting the Past \/ Reminiscing about the Past (ACPAST \/ REM) scale is a\nmethodological tool for measuring acceptance of and reminiscence about the past\nin correlation to depressive symptoms. This was used to measure past acceptance\nand reminiscence as key components of ego-integrity (Corcoran and Fischer 2013;\nSantor and Zuroff 1994). The questionnaire was translated, piloted and tested\nfor its validity using the Cronbach alpha statistical criterion, with\nacceptable values (see Table 1).<\/p>\n\n\n\n

    Table<\/strong> 1. <\/strong>Cronbach<\/strong>\u2019<\/strong>s<\/strong> <\/strong>alpha<\/strong><\/h6>\n\n\n\n
    \n  <\/strong>\n <\/td>Pre-test<\/strong> <\/td>Post-test<\/strong> <\/td><\/tr>
    Cronbach’s Alpha<\/strong> <\/td>0,844<\/td>0,962<\/td><\/tr>
    Cronbach’s Alpha Based on Standardized Items<\/strong> <\/td>0,854<\/td>0,962<\/td><\/tr>
    Std. Deviation<\/strong> <\/td>16,442<\/td>29,631<\/td><\/tr>
    N of Items<\/strong> <\/td>27<\/td>27<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

    Data\nwere processed by using SPSS v.20 and the procedure followed the principles of\ndescriptive and inferential statistics. The conclusions according to the\nprinciples of inductive statistics were based on t-test for independent\nsamples. At the same time, the randomness and normality of the sample were\nchecked and confirmed by the runs and Shapiro-Wilk tests respectively.    <\/p>\n\n\n\n

    The\neffect of experimental manipulation was clear on the variable of\n“ego-integrity,” as the elderly in the experimental group showed\nstatistically significant improvements compared to the control group (see Table\n2).<\/p>\n\n\n\n

    Table 2. T-test values during pre-test and post-test<\/strong><\/h6>\n\n\n\n
    \n Variables<\/strong><\/strong>\n <\/td>\n Means <\/strong> <\/strong><\/strong>\n <\/td>\n t-test<\/strong><\/strong>\n <\/td><\/tr>
    \n  <\/strong>\n <\/td>Experimental <\/strong>
    group<\/strong> <\/td>    		Control <\/strong>
    group<\/strong> <\/td>    		t<\/strong><\/td>Df<\/strong><\/td>p<\/strong><\/td><\/tr>
    Ego-integrity <\/strong>
    – pre<\/strong> <\/td>    		3,492<\/td>\n 3,519\n <\/td>-0,144 <\/td>43 <\/td>0,886
    (p>0,05) <\/td><\/tr>
    Ego-integrity <\/strong>
    – post<\/strong> <\/td>    		5,330<\/td>\n 3,461\n <\/td>\n 10,855\n <\/td>43 <\/td>0,000
    (p<0,001) <\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

    Neither gender nor individual age groups were\ndifferentiated.<\/p>\n\n\n\n

    Qualitative\nanalysis<\/strong><\/h5>\n\n\n\n

    The\nfindings of the quantitative analysis were further explored through the\nqualitative approach, in which the fourteen interventions performed in the\nexperimental group were analyzed one by one. These interventions focused on\nsubjects such as refugees, entertainment, school memories, marriage, old\nprofessions, old neighborhood, and so on. The qualitative data were analyzed\nimmediately after the end of each session to identify saturated categories and\nsearch for new ones, in accordance with the principles of grounded theory.  Meetings were held weekly at the Nea Peramos\nCommunity Centre.   <\/p>\n\n\n\n

    Qualitative data indicated that reminiscence drama\npositively mobilized the mechanisms of remembrance for older people, gradually\ncreating a more positive outlook towards their past and their overall lives:<\/p>\n\n\n\n

    During these sessions I realized that nothing is lost, because we still remember it. (Male participant, 81+ years old)<\/p>\n\n\n\n

    Initially,\nparticipation in drama felt rather embarrassing to the elderly. However,\nstorytelling proved to have the potential to activate memory and enhance\nspeech. Starting from simple stories of the past, participants gradually passed\non stories that sought their deepest ego and which could shape their\n“ego-integrity,” proving drama to be the factor that shaped these\nmemories:<\/p>\n\n\n\n

    It was so nice! Like real theatre. And I think that you don\u2019t have to be an actor; I was myself. (Female participant, 81+ years old)<\/p>\n\n\n

    \n
    \"\"
    Storytelling in couples. Photo: Katerina Kosti<\/figcaption><\/figure>\n<\/div>\n\n\n

    During\nreminiscence drama, participants were reconciled with their past and seemed to\ngain a new relationship with their dead parents. They saw life more positively.\nThey also grasped that their life experience is still useful today in our\npostmodern society, which needs values to move forward. Even traumatic\nexperiences were met by the participants with the awareness that they were not\ndetermining their quality of life. All of the above elements appear to be of\nparticular importance for their “ego-integrity”:<\/p>\n\n\n\n

    I was a poor man, but I was a man who lived beautifully and worked hard all his life. My house was not luxurious, but I had friends and honesty in my heart. So, in this house I taught my children to respect work and value it and to be human. (Male participant, 81+ years old)<\/p>\n\n\n\n

    Therefore,\nthese sessions proved that, though initially embarrassed, the elderly became\nacquainted with reminiscence drama and approached it with increasing eagerness.\nThey gradually gained the opportunity to deal with their past and approach it\ncreatively, thus being enabled to manage troubled situations they had lived in\nbefore. This fact demonstrates that maintaining the processes and results of\nsuch interventions requires time, perseverance and faith in the dynamics of\ndrama as a tool for improving human life:<\/p>\n\n\n\n

    I felt a little pressed at first. I didn’t understand why I had to play. It seemed very childish to me. Then I realized that it was good for me and I felt good. (Female participant, 71-80 years old)<\/p>\n\n\n

    \n
    \"\"
    Reminiscence. Photo: Katerina Kosti<\/figcaption><\/figure>\n<\/div>\n\n\n

    During the drama sessions, it was common for\nparticipants to repeat the same stories. At times funny and at others full of\npain and frustration, these stories did not tire the group; instead, they were\nalways welcomed with warm interest, trust and openness, perhaps because it\nsatisfied the need of participants to be “lightened” from the burden\nof the past. The opportunity to repeat the same stories through drama satisfied\nthe participants who needed it, given that their relatives were likely to deny\nthese recurring stories:<\/p>\n\n\n\n

    I haven’t figured it out. Some people tell us, \u201cWhy do you remember the old time? It’s not good for you.\u201d And we come here, and we remember and laugh, and we are fine. I have been thinking about it for days now and I think that I like it so much\u2014I find a way to forget, not to worry. And I feel like an actor, on a stage; I’m proud of myself. (Female participant, 81+ years old)<\/p>\n\n\n\n

    The Reminiscence Show<\/strong><\/h5>\n\n\n\n

    Two months\nafter the completion of the interventions, some participants requested that I\nedit a play based on the testimonies and stories submitted by them. The time\navailable, about three weeks in the summer, was very limited, but I couldn\u2019t\nrefuse such a challenge.<\/p>\n\n\n\n

    Initially, the\nwhole group of seniors who participated in the programme was invited, but the\nresponse (during summer holidays) was very limited; only fifteen (15) women\nhastened to participate in this new project. Their wish was to prepare a show\non love and marriage, so this was the theme of our play.<\/p>\n\n\n\n

    First, the\ntask force re-edited the transcribed stories recorded during the respective\nsessions and supplemented the narratives with some further sources. The elderly\nwomen wanted to present a single love story in the context of traditional\nsociety. Their proposal had a folklore profile, which was eventually adopted,\ndespite my scepticism at this point. After a material processing session, the\npresentation framework was agreed upon.<\/p>\n\n\n

    \n
    \"\"
    The performance at the old port of Nea Peramos. Photo: Katerina Kosti<\/figcaption><\/figure>\n<\/div>\n\n\n

    The script was\nagreed to start in the present day and use the technique of retrospective\nstorytelling to look back on the past and tell the story of the marriage of a\nlocal couple. I undertook the writing of the text; however, after the script\nwas completed, the participants inspected it for any improvements to its\nstructure and content. At the same time, the elderly women proposed traditional\nsongs and dances to frame the show.<\/p>\n\n\n\n

    As soon as the\nscript was completed, members of various ages from the local community were\ninvited to take on the key roles of the couple in the past, as well as their\nfriends and relatives. Thus, the project took on an intergenerational profile,\nbringing together different age groups, who benefited mutually from this\ncollaboration (Kosti, Drama for the Elderly<\/em>\n273; Kosti, Life Stories<\/em> 27). Most of the older participants took on minor\nroles and participated in overseeing the rehearsals.<\/p>\n\n\n\n

    After only two\nweeks of intense rehearsal, the play was ready to be presented to the local\ncommunity. The performance took place in an open air theatre at the old port of\nNea Peramos and was proven successful, as evidenced by the reactions of both\naudience and participants:<\/p>\n\n\n\n

    It was a great story of our grandparents; I enjoyed it. I wish I had participated in this performance and I would love to participate in a similar project in the future. (Female viewer, 20 years old)<\/p>\n\n\n\n

    The\nperformance satisfied the group of elderly women who were involved in the\nconception and development of the idea. Of course, the other members of the\nexperimental group also watched the performance with great emotion:<\/p>\n\n\n\n

    This is our life; it\u2019s nice to remember, to relive, and to have the sense of being young again. It\u2019s wonderful for all of us. It was an honour to watch my story on the stage. I\u2019m so happy! I feel that my life was worth it! (Female participant, 81+ years old)<\/p>\n\n\n\n

    Conclusion<\/strong><\/h5>\n\n\n\n

    “Ego-integrity”\nis not an easy task. The real “integers” do not overlook any previous\nproblems; instead, they re-appropriate their life with a renewed philosophy\nwithout prejudice. Elderly participants in the reminiscence drama context embraced\nthis philosophy as a personal construct and treated their lifelong mistakes\nwith a refreshing courage, which is perhaps the most important component of\n“ego-integrity.”<\/p>\n\n\n\n

    Reminiscence\ndrama opens up the prospect of a different view of the future for the elderly.\nSuch a perspective is needed in our ever-ageing world, which should be driven\nby the accumulated wisdom of the elderly.<\/p>\n\n\n\n

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

    [1]<\/sup><\/a> In this paper, all people over sixty-five years old are considered “elderly.”<\/p>\n\n\n\n

    \n\n\n\n
    Bibliography<\/strong><\/h5>\n\n\n\n

    Age Concern. Leisure and Learning<\/em>. Age Concern,\n2002.<\/p>\n\n\n\n

    Amann, Sylvia. Programmes and Activities of the EU in the Fields of\nCulture and the Arts<\/em> in Austria and the Central-Eastern European\nCountries.<\/em> European Commission – Culture 2000, 2003.<\/p>\n\n\n\n

    Butler, Robert N. \u201cThe Life Review: An Interpretation of Reminiscence in\nthe Aged.\u201d Psychiatry<\/em>, vol.26, 1963, pp. 65-70.<\/p>\n\n\n\n

    Charmaz, Kathy. \u201cGrounded Theory.\u201d Rethinking Methods in Psychology<\/em>,\nedited by Jonathan A. Smith, Rom Harr\u00e9, and Luk Van Langenhove, Sage, 1995, pp.\n27-49. <\/p>\n\n\n\n

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    Erikson, Erik H. Childhood and Society<\/em>. W. W. Norton and Company,\n1950.<\/p>\n\n\n\n

    Greene, Jennifer. Mixed Methods in Social Inquiry. <\/em>Wiley, 2007.<\/p>\n\n\n\n

    Haight, Barbara K., & Barrett S. Haight. The Handbook of\nStructured Life Review<\/em>. Health Professions Press, 2007.<\/p>\n\n\n\n

    Kosti, Katerina. Drama for the Elderly\nas a Means for Fostering “Ego Integrity”: Field Research on the Effect\nof Drama Techniques on Older People.<\/em> 2018. University of Peloponnese, Postdoctoral\ndissertation. <\/p>\n\n\n\n

    \u2014\u2014\u2014. \u201cLife Stories in Reminiscence Theatre.\u201d Education and Theatre<\/em>, vol. 18, no. 24-31, 2017, pp. 24-31.<\/p>\n\n\n\n

    London Centre for Dementia Care. Over the Moon: Effectiveness of\nUsing Interactive Drama in a Dementia Care Setting, Part 3: Evaluation Report.<\/em>\nCentral and Cecil, 2009.<\/p>\n\n\n\n

    Loveland, Jean. \u201cLeisure Activity Packages for Rural Aged.\u201d Activities,\nAdaptation and Ageing<\/em>, vol. 2, no.1, 1981, pp. 11-20.<\/p>\n\n\n\n

    Lowenthal, David. The Past is a Foreign Country.<\/em> Cambridge UP,\n1985.<\/p>\n\n\n\n

    Quinn, Catherine. Honouring Memories: An Evaluation of the Work of\nthe Age Exchange Reminiscence Project.<\/em> Centre for Policy on Ageing, 1989.<\/p>\n\n\n\n

    Rickett, Michelle, and Miriam Bernard. Ageing, Drama and Creativity: A\nCritical Review.<\/em> Arts and Humanities Research Council, 2014.<\/p>\n\n\n\n

    Santor, Darcy A., and David C. Zuroff, D.C. \u201cDepressive Symptoms:\nEffects of Negative Affectivity and Failing to Accept the Past.\u201d Journal\nof Personality Assessment<\/em>, vol. 63, no. 2, 1994, pp. 294-312.<\/p>\n\n\n\n

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    \u2014\u2014\u2014. \u201cReminiscence in Dementia Care.\u201d The International Journal of Reminiscence and Life Review<\/em>, vol. 1, no. 1, 2013b, pp. 42-47.<\/p>\n\n\n\n

    \u2014\u2014\u2014. Reminiscence Theatre: Making Theatre from Memories<\/em>. Jessica Kingsley Publishers, 2007.<\/p>\n\n\n\n

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    Vandegrift, Juliana. Annual Report 2014<\/em>. Oral History Society, Regional\nNetwork, 2014.<\/p>\n\n\n\n

    Victor, Christina, Gerben J. Westrhof, and John Bond. (2007). \u201cResearching\nAge.\u201d Ageing in Society<\/em>, edited by John Bond, Sheila Peace, Freya\nDittmann-Kohli, and Gerben Westerhof. Sage, 2007, pp. 85-112<\/p>\n\n\n\n

    Weiss, Jules C. Expressive Therapy with Elders and the Disabled.\n<\/em>Routledge, 1984.<\/p>\n\n\n\n

    Wilder, Rosylin. \u201cLife Drama with Elders.\u201d Interactive and\nImprovisational Drama<\/em>, edited by Adam Blatner and Daniel J. Wiener, iUniverse,\nInc., 2007, pp. 23-33. <\/p>\n\n\n\n

    Wimmer, Michael. Promoting Cultural Education in Europe. A Contribution to Participation, Innovation and Quality<\/em>. Austrian Ministry of Education, Science and Culture, 2006. <\/a><\/p>\n\n\n\n

    \n\n\n\n
    \n\n\n\n\"\"
     \n\n\n\n

    *<\/a>Katerina Kosti<\/strong> has a Ph.D. in Theatre and Drama Education from the University of Peloponnese. She now teaches in the Department of Theatre Studies of the University of Peloponnese as an adjunct lecturer. Her postdoctoral research was on reminiscence drama and theatre. She also works on drama projects in prisons and day care centers.<\/p>\n\n\n\n

    Copyright \u00a9<\/strong> 2019 Katerina Kosti
    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":82,"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":[8],"tags":[13],"class_list":["post-79","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-special-topic","tag-st-front"],"jetpack_featured_media_url":"https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image3-1.jpeg","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":756,"url":"https:\/\/www.critical-stages.org\/20\/a-note-from-the-guest-editors\/","url_meta":{"origin":79,"position":0},"title":"A Note from the Guest Editors","author":"Katerina Kosti","date":"December 4, 2019","format":false,"excerpt":"Manabu Noda* and Yun Cheol Kim** The world is ageing\u2212and fast. According to the United Nations, already one in eleven of the world population is over 65, and by 2050 the rate will be one in six. The 65+ age band outnumbered children under five years of age for the\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\/10\/Manabu_Noda2-140x150.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":534,"url":"https:\/\/www.critical-stages.org\/20\/theatre-at-the-crossroads-trends-and-challenges-of-georgian-theatre-today\/","url_meta":{"origin":79,"position":1},"title":"Theatre at the Crossroads: Trends and Challenges of Georgian Theatre Today","author":"Katerina Kosti","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":[]},{"id":225,"url":"https:\/\/www.critical-stages.org\/20\/age-and-politics-in-early-american-drama\/","url_meta":{"origin":79,"position":2},"title":"Age and Politics in Early American Drama","author":"Katerina Kosti","date":"October 21, 2019","format":false,"excerpt":"Zoe Detsi* Abstract This paper seeks to explore how age as a determining category of identity was represented on the American stage in the years following the American Revolution. By bringing early American drama\u2014a field largely neglected in itself\u2014into the discussion of performance and age studies, this paper examines age\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\/10\/image2-8.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\/image2-8.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image2-8.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/image2-8.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":508,"url":"https:\/\/www.critical-stages.org\/20\/countering-ageism-and-eugenics-in-theatre\/","url_meta":{"origin":79,"position":3},"title":"Countering Ageism and Eugenics in Theatre","author":"Katerina Kosti","date":"December 3, 2019","format":false,"excerpt":"Akiko Tachiki* Abstract Pressure upon the elderly, that is the \u201cduty-to-die\u201d campaign due to mounting medical expenditures, is rife in ageing countries. Has ageism turned into an offshoot of eugenics, which we thought had been discredited after WWII? The article discusses two 2018 theatre pieces in Japan\u2015the most rapidly ageing\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\/image4-1.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\/image4-1.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image4-1.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image4-1.jpeg?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":79,"position":4},"title":"Modern Scottish Theatre: Emerging from the Shadow of the Reformation","author":"Katerina Kosti","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":362,"url":"https:\/\/www.critical-stages.org\/20\/introductory-words\/","url_meta":{"origin":79,"position":5},"title":"Introductory Words","author":"Katerina Kosti","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":[]}],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/posts\/79","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=79"}],"version-history":[{"count":10,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/posts\/79\/revisions"}],"predecessor-version":[{"id":1277,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/posts\/79\/revisions\/1277"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/media\/82"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/media?parent=79"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/categories?post=79"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/tags?post=79"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}