{"id":1009,"date":"2021-02-12T15:26:35","date_gmt":"2021-02-12T15:26:35","guid":{"rendered":"https:\/\/www.critical-stages.org\/21\/?page_id=1009"},"modified":"2021-06-30T15:25:14","modified_gmt":"2021-06-30T15:25:14","slug":"table-of-contents","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/21\/table-of-contents\/","title":{"rendered":"Table of Contents"},"content":{"rendered":"\n

Editorial Note<\/a>
Savas Patsalidis, Editor-in-Chief<\/p>\n\n\n\n

Special Topic<\/strong><\/h5>\n\n\n\n

The Theatricality of Music, the Musicality of Theatre<\/em><\/strong>
Guest Editor: Octavian Saiu<\/a><\/strong> (Romania)<\/p>\n\n\n\n

The New Soundscape of Global Culture: Editorial Note<\/a>
Octavian Saiu<\/p>\n\n\n\n

Ideology and Machines in the Work of Richard Wagner<\/a>
Themelis Glynatsis<\/p>\n\n\n\n

Interaction Between Music and Theatre in Identity Processes: Croatian Example<\/a>
Iva Hraste-So\u010do<\/p>\n\n\n\n

Broadway Rap Battles and the Crisis of Historicity: Lin-Manuel Miranda\u2019s Hamilton<\/em><\/a>
Konstantinos Blatanis<\/p>\n\n\n\n

\u201cHave you ever had an intention?\u201d: The Postmodern Condition and the Failure of Epiphany in Michael John LaChiusa\u2019s Little Fish<\/em><\/a>
Mara Davis<\/p>\n\n\n\n

Opera of Postmodernism and New Challenges of Opera Criti\u0441ism<\/a>
Irina Yaskevitch<\/p>\n\n\n\n

Notes on Light: The Musicality of Light and Theatre<\/a>
Amy Chan<\/p>\n\n\n\n

In Pursuit of the Musical Image: Imagining the Soundscape of Wild Man<\/em><\/a>
Xing Fan<\/p>\n\n\n\n

Transforming the Dark: Using Colour to Compose Sound in Dark Matter<\/em><\/a>
Martyn Roberts and Jeremy Mayall<\/p>\n\n\n\n

Musicality in Simon Stephens\u2019 Plays<\/a>
Brigitte Bogar<\/p>\n\n\n\n

Theatre for Sounds and Souls; or, The Polish Song of the Goat<\/em> and Its Quest into the Impossible<\/a>
Kalina Stefanova<\/p>\n\n\n\n

La musique live<\/em> et la f\u00ealure des mots<\/a>
Georges Banu<\/p>\n\n\n\n

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

Mediating Performance Experiences<\/em><\/strong>
Editor: Yana Meerzon<\/a><\/strong> (Canada)<\/p>\n\n\n\n

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

Making Community in the Age of Migration: What Is the Role of Social Media in Contemporary Theatre<\/a>
Janne Cleveland<\/p>\n\n\n\n

Paradigm Shift: Making Theatre with Social Media<\/a>
Danielle Le Saux-Farmer<\/p>\n\n\n\n

\u201cIt\u2019s Everyday, Bro\u201d: YouTube, \u201cAuthenticity,\u201d and the Psychopathology of Late Capitalism<\/a>
Chris Eaket<\/p>\n\n\n\n

\u201cSiri, Are You Female?\u201d: Reinforcing and Resisting Gender Norms with Digital Assistants<\/a>
Kimberley McLeod<\/p>\n\n\n\n

temping<\/em>: On Technological Immersion, Surveillance and Existential Angst in One-to-One Performances: Yana Meerzon and Michael Rau in Dialogue<\/a>
Yana Meerzon and Michael Rau<\/p>\n\n\n\n

The Spiritual Reformation of Theatrical Practice: Interculturalism and the Modern Times Stage Company<\/a>
Peter Farbridge<\/p>\n\n\n\n

On Migration towards Europe. Simple as ABC#3: The Wild Hunt<\/em> by Thomas Bellinck<\/a>
Garcia Martinez Manuel<\/p>\n\n\n\n

The Live History Company, Museum Theatre, \u201cFour Spectators\u201d and \u201cThat Guy\u201d: A Complex Relationship<\/a>
Rick Cousins<\/p>\n\n\n\n

Children\u2019s Plays in Iran: Iranian Culture or Homogenous Society?<\/a>
Bahee Hadaegh and Zeinab Karimi<\/p>\n\n\n\n

Art World Authenticities: Postmodern Curators, Creators and Performers<\/a>
Dena Davida<\/p>\n\n\n\n

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

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

Living Through Changes: Mongolian Theatre<\/a>
Batsaikhan Dashdondog<\/p>\n\n\n\n

Theatre in Montenegro: An Unfinished Cultural Transition<\/a>
Maja Mr\u0111enovi\u0107<\/p>\n\n\n\n

Le th\u00e9\u00e2tre au Maroc, \u00e9tat des lieux<\/a>
Baker Saddiki<\/p>\n\n\n\n

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

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

Performing Outdoors: About Aesthetics and Ideology: An Interview with Joan Font<\/a>
Merc\u00e8 Saumell<\/p>\n\n\n\n

Conscious and Safe: \u0391 Values-lead Response to the COVID-19 Crisis: An Interview with Jovana Karauli\u0107<\/a>
Tina Peri\u0107<\/p>\n\n\n\n

Le chemin continue : Entretien avec Data Tavadz\u00e9<\/a>
Irina Gogob\u00e9ridz\u00e9<\/p>\n\n\n\n

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

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

Russian Theatre Before the Crash<\/a>
Christine Matvienko<\/p>\n\n\n\n

Dostoevsky and Whitman: The Murder and the Miracle<\/a>
Lissa Tyler Renaud<\/p>\n\n\n\n

The Jukebox Reimagined: New Musicals Pump Fresh Blood into a Tired Genre<\/a>
Martin Morrow<\/p>\n\n\n\n

Playing with Disaster<\/a>
Patricia Keeney<\/p>\n\n\n\n

On the Hungarian Border of Illuminating and Alienating<\/a>
Cole J. Stern<\/p>\n\n\n\n

Time, Chance and Space: Stan Lai\u2019s Newest Work, Ago<\/em><\/a>
Yu Kuo-Hua<\/p>\n\n\n\n

A Town Remembered and Recreated<\/a>
Maria Z\u0103rnescu<\/p>\n\n\n\n

L\u2019\u00e9criture d\u2019une vie<\/a>
Jean-Pierre Han<\/p>\n\n\n\n

L\u2019art de camper<\/em> Copi<\/a>
Camille Khoury<\/p>\n\n\n\n

An Absurd Night in a Georgian Hotel<\/a>
Marina (Maka) Vasadze<\/p>\n\n\n\n

Nora. The Big Exit<\/a>
Penelope Chatzidimitriou<\/p>\n\n\n\n

Tomorrow\u2019s Theatre! Maybe<\/a>
Steve Capra<\/p>\n\n\n\n

Germany During the Crash<\/a>
Matti Linnavuori<\/p>\n\n\n\n

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

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

Staging Postcommunism: Alternative Theatre in Eastern and Central Europe After 1989<\/a>
Don Rubin<\/p>\n\n\n\n

Theatre Blogging: The Emergence of a Critical Culture<\/a>
Mark Fisher<\/p>\n\n\n\n

A Century of South African Theatre<\/a>
Temple Hauptfleisch<\/p>\n\n\n\n

Koffi Kwahul\u00e9<\/a>
Selim Lander<\/p>\n\n\n\n

Pip Utton and his Masks\/ Pip Utton I jegoMaski<\/a>
Don Rubin<\/p>\n\n\n\n

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

Bugged (Critics, Criticism and Critical Categories)<\/a>
Don Rubin<\/p>\n\n\n\n

COVID-19<\/strong><\/h5>\n\n\n\n

COVID-19 and its Impact on the Performing Arts: a Survey<\/em><\/strong>
Editor: Savas Patsalidis<\/a><\/strong> (Greece)<\/p>\n\n\n\n

A Pandemic Theatre \u201cAlbum\u201d of First Reactions: \u0391n Introduction<\/a>
Savas Patsalidis<\/p>\n\n\n\n

Theatre and Epidemics: An Age-Old Link<\/a>
Maria Ristani<\/p>\n\n\n\n

ARGENTINA: \u201cNever Abandon the Theatre, Even in the Toughest Situations\u201d<\/a>
Halima Tahan F.<\/p>\n\n\n\n

CANADA: Working through the Cracks<\/a>
Carly Maga<\/p>\n\n\n\n

CZECH REPUBLIC: Austerity of Movement and Theatre on Screen<\/a>
Martina Peckov\u00e1 \u010cern\u00e1, Michal Zah\u00e1lka, Jana N\u00e1vratov\u00e1<\/p>\n\n\n\n

ENGLAND: March and April were the Cruellest Months<\/a>
John Causebrook and John Elsom<\/p>\n\n\n\n

GEORGIA: In Search of New Forms and Ideas<\/a>
Natalia Tvaltchrelidze<\/p>\n\n\n\n

GREECE: Being Active with Theatres Closed<\/a>
Irene Moundraki, Leandros Polenakis & Thanos Madzanas<\/p>\n\n\n\n

HONG KONG: Our Passion Will Go On, Even If the Shows Cannot<\/a>
Bernice Chan<\/p>\n\n\n\n

INDIA: Pandemic: A Vulnerable Time for Artists<\/a>
Deepa Punjani<\/p>\n\n\n\n

JAPAN: Theatre is Life<\/a>
Ken\u2019ichi Yamamoto<\/p>\n\n\n\n

LATVIA: All the World\u2019s a Screen<\/a>
Lauma Mell\u0113na-Bartkevi\u010da<\/p>\n\n\n\n

MARTINIQUE : Cahiers de confinement<\/a>
Janine Bailly<\/p>\n\n\n\n

MEXICO: Theatre in Intensive Care<\/a>
Lorena Meeser<\/p>\n\n\n\n

POLAND: Internet-theatre and Insufficient State Support for the Artists<\/a>
Tomasz Mi\u0142kowski<\/p>\n\n\n\n

QUEBEC (CANADA) : Au Qu\u00e9bec, grogne et r\u00e9silience des artistes<\/a>
Raymond Bertin<\/p>\n\n\n\n

ROMANIA: Theatre is Always Alive<\/a>
Octavian Saiu, Oltita Cintec<\/p>\n\n\n\n

RUSSIA: Rethinking Communication Strategies<\/a>
Alexandra Dunaeva<\/p>\n\n\n\n

SLOVAKIA: Virtual Centenary of Slovak Theatre<\/a>
Zuzana Ulicianska<\/p>\n\n\n\n

SOUTH AFRICA: Devastating Effects<\/a>
Gaerin Hauptfleisch and Temple Hauptfleisch<\/p>\n\n\n\n

SOUTH KOREA: Out of Crisis Arises Opportunity<\/a>
Um Hyun Hee<\/p>\n\n\n\n

SWEDEN: The Future Uncertain within the Independent Field<\/a>
Theresa Bener<\/p>\n\n\n\n

TAIWAN: Crisis or Chance: Theatre in Difficult Times<\/a>
Hung Tzi-Yu<\/p>\n\n\n\n

\u03a4URKEY: \u201cHope is in People, Hope is in Us\u201d<\/a>
Rag\u0131p Ertu\u011frul<\/p>\n\n\n\n

UNITED STATES: Live from the United States, It\u2019s Social Distancing<\/a>
Chris Jones<\/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-1009","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":871,"url":"https:\/\/www.critical-stages.org\/21\/editorial-note\/","url_meta":{"origin":1009,"position":0},"title":"Editorial Note","author":"cs2-admin","date":"June 17, 2020","format":false,"excerpt":"Savas Patsalidis* Dear reader, I am very happy to announce the publication of the 21st issue of Critical Stages\/Sc\u00e8nes critiques which, in terms of quantity, is thus far the richest of all, with 70 contributions by 40 women and 38 men from 34 countries (including New Zealand, Mexico, Martinique, Latvia,\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/06\/Spats.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":8,"url":"https:\/\/www.critical-stages.org\/21\/cs-issue-no-21-editors\/","url_meta":{"origin":1009,"position":1},"title":"CS Issue No 21 Editors","author":"cs2-admin","date":"March 21, 2020","format":false,"excerpt":"Special Topic Octavian Saiu, Adjunct Secretary General of IATC and President of the Romanian Section of IATC \u2013 Theatre Studies, holds a PhD in Theatre Studies and another one in Comparative Literature. He has published articles in several international journals, as well as eleven books on theatre. Actively involved in\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/04\/PER-NoraPen-Photo-4-Miss-Julie.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/04\/PER-NoraPen-Photo-4-Miss-Julie.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/04\/PER-NoraPen-Photo-4-Miss-Julie.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/04\/PER-NoraPen-Photo-4-Miss-Julie.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":830,"url":"https:\/\/www.critical-stages.org\/21\/editorial\/","url_meta":{"origin":1009,"position":2},"title":"\u00c9ditorial","author":"cs2-admin","date":"June 14, 2020","format":false,"excerpt":"Savas Patsalidis* Ch\u00e8res lectrices, chers lecteurs, Je suis tr\u00e8s heureux de lancer la publication du 21e num\u00e9ro de Critical Stages\/Sc\u00e8nes critiques qui, par le nombre d\u2019articles, est le plus riche jusqu\u2019\u00e0 pr\u00e9sent, offrant 70 contributions de 40 collaboratrices et 38 collaborateurs venant de 34 pays (de la Nouvelle-Z\u00e9lande au Mexique,\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/06\/Spats.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":966,"url":"https:\/\/www.critical-stages.org\/21\/unstable-grounds\/","url_meta":{"origin":1009,"position":3},"title":"Unstable Grounds: Reconfigurations of Performance and Politics","author":"cs2-admin","date":"September 20, 2020","format":false,"excerpt":"Call for Papers & Essays Special Issue, June 2021Guest Editors: Gigi Argyropoulou and Stefanie Sachsenmaier This issue explores operations of performance during unstable conditions marked by socio-political, environmental, economic and further challenges. It is particularly interested in histories, reconfigurations and mutations of performance practice as it seeks to respond and\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/10\/FR.png?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":991,"url":"https:\/\/www.critical-stages.org\/21\/aural-oral-dramaturgies\/","url_meta":{"origin":1009,"position":4},"title":"Aural\/Oral Dramaturgies","author":"cs2-admin","date":"October 25, 2020","format":false,"excerpt":"Call for Papers & Essays Guest Editors:\u00a0Du\u0161ka Radosavljevi\u0107\u00a0and\u00a0Flora PitroloDecember 2021 (#24) Recent decades have seen an increased interest of theatre-makers in speech and sound as a starting point for making theatre and performance. This trend could be traced back to verbatim theatre of the early 2000s, evolving out of the\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/10\/FR.png?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/pages\/1009","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/comments?post=1009"}],"version-history":[{"count":3,"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/pages\/1009\/revisions"}],"predecessor-version":[{"id":1078,"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/pages\/1009\/revisions\/1078"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/media?parent=1009"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}