{"id":1110,"date":"2021-01-26T12:13:10","date_gmt":"2021-01-26T12:13:10","guid":{"rendered":"https:\/\/www.critical-stages.org\/22\/?page_id=1110"},"modified":"2025-06-27T18:43:35","modified_gmt":"2025-06-27T18:43:35","slug":"table-of-contents","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/22\/table-of-contents\/","title":{"rendered":"Table of Contents"},"content":{"rendered":"\n

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

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

Theatre Criticism in the Age of Self-Isolation and Social Distancing<\/em><\/strong>
Co-Editors: Yana Meerzon<\/strong><\/a> (Canada), Savas Patsalidis<\/strong><\/a> (Greece), Aisling Murphy<\/strong><\/a> (Canada)<\/p>\n\n\n\n

Editors\u2019 Comment: Theatre (Criticism) the Day After<\/a>
Yana Meerzon, Savas Patsalidis, Aisling Murphy<\/p>\n\n\n\n

How to Write About Theatre Online Workshops<\/a>
Mark Fisher<\/p>\n\n\n\n

CATR Digital Criticism Pedagogies Workshop 2020 Recap<\/a>
Karen Fricker, Michelle Macarthur, Aisling Murphy, Robyn Grant-Moran, Mae Smith<\/p>\n\n\n\n

Arts Journalism and Theatre in the Pandemic Era: Mutations, Redefinitions and Challenges<\/a>
Zoe Ververopoulou<\/p>\n\n\n\n

Chilean Crises Lead to Experiments in Online Theatre<\/a>
Pablo Cisternas, Milena Grass Kleiner, Andr\u00e9s Kalawski, Cristi\u00e1n Opazo<\/p>\n\n\n\n

Le th\u00e9\u00e2tre en confinement : qu\u2019est-ce que nous avons regard\u00e9 en Turquie ?<\/a>
Ece Yassitepe Ayyildiz<\/p>\n\n\n\n

Tercera Llamada #LiveOnlineNow: Notes on a Virtual Theatre Experience<\/a>
Fernando Valcheff Garc\u00eda, Regina Solis Mirandal, Sara Hermo<\/p>\n\n\n\n

Internet: Curse or Blessing<\/a>
Esther Slevogt<\/p>\n\n\n\n

The Digital Sublime and Fragility in the Time of COVID-19 and the Eco-crisis: The Dynamics of Becoming<\/a>
Hanna Helavuori<\/p>\n\n\n\n

Electric Dance, or How to Talk with Birds<\/a>
Johannes Birringer<\/p>\n\n\n\n

Lockdown Verses and Anxieties of Presence: How Polish Theatre Rhymed a Case for Its Purpose on the Pandemic Stage<\/a>
Kasia Lech<\/p>\n\n\n\n

Some Reflections on Theatre in a Post (Pre-) Pandemic Moscow<\/a>
Alla Shenderova<\/p>\n\n\n\n

Ceci n\u2019est pas un th\u00e9\u00e2tre<\/em>: Theatre in the Age of COVID<\/a>
Mark Brown<\/p>\n\n\n\n

The Performance of Protest in a Post-COVID World: A Theatre Critic\u2019s Perspective from India<\/a>
Deepa Punjani<\/p>\n\n\n\n

Not Here, Not Now? Liveness Revisited<\/a>
Ma\u0142gorzata Sugiera<\/p>\n\n\n\n

Brecht Is More Relevant Than Ever in the Time of COVID-19<\/a>
Jisoo Nam<\/p>\n\n\n\n

Le th\u00e9\u00e2tre survivra-t-il \u00e0 la tentation du virtuel ?<\/a>
Tibor Egervari<\/p>\n\n\n\n

Pandemic V-Effect: The Plague as Theatre Criticism<\/a>
Felipe Cervera and Azadeh Sharifi<\/p>\n\n\n\n

After Devitalized Theatre<\/a>
Nenad Jelesijevi\u0107<\/p>\n\n\n\n

Theatre and Censorship in the Pandemic<\/a>
Patricia Nikolova<\/p>\n\n\n\n

Misplaced Self in the Misplaced City<\/a>
Tan Tan (Weiwei Sun)<\/p>\n\n\n\n

Migrant Representation in the U.K. Theatre Industry: How Covid-19 Catalysed a Movement<\/a>
Sally Beck Wippman (contrib. Zhui-Ning Chang, Lara Parmiani)<\/p>\n\n\n\n

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

Editor: Yana Meerzon<\/strong><\/a> (Canada)<\/p>\n\n\n\n

Contemporary Playwriting and Theatre Translation Cultures in Europe: A Report on Current Systems, Conventions and Perceptions<\/a>
Margherita Laera<\/p>\n\n\n\n

Relaxed Performance: An Ethnography of Pedagogy in Praxis<\/a>
Carla Rice, Chelsea Temple Jones, Jessica Watkin, Kayla Besse<\/p>\n\n\n\n

\u00ab \u2026papa merci d\u2019\u00eatre mort \u00bb \u2013 Un spectacle pour les adultes qui \u00e9taient autrefois des enfants<\/a>
Irina Antonova<\/p>\n\n\n\n

Rethinking Authority, Creativity and Authorship in Twenty-First-Century Performance: The Director\u2019s Revised Role<\/a>
Avra Sidiropoulou<\/p>\n\n\n\n

What Is This Thing, Drama? Plays for Dialogue in a Rwandan College Setting<\/a>
Amy S. Green<\/p>\n\n\n\n

Au-del\u00e0 des fronti\u00e8res, les ponts<\/a>
Georges Banu<\/p>\n\n\n\n

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

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

Mission Im\/possible: In Search of Identity and the Aesthetics of Hong Kong Contemporary Theatre<\/a>
Bernice Kwok-wai Chan<\/p>\n\n\n\n

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

Theatre Criticism for Young Audiences: New Directions<\/em><\/strong>
Co-Editors: Diana Damian Martin<\/strong><\/a> (UK), Anette Therese Pettersen<\/strong><\/a> (Norway), Rui Pina Coelho<\/a> <\/strong>(Portugal)<\/p>\n\n\n\n

<\/a>Note from the Editors<\/a>
Diana Damian Martin, Anette Therese Pettersen, Rui Pina Coelho<\/p>\n\n\n\n

Flight<\/em> Paths and Theatre for Early Years Audiences<\/a>
Robyn Ayles, Heather Fitzsimmons Frey, Margaret Mykietyshyn<\/p>\n\n\n\n

<\/a>Young Critical Practices: Ways of Thinking in and With the Arts<\/a>
Anette Therese Pettersen<\/p>\n\n\n\n

Describe, Evaluate, Argue: Teaching Criticism for Young Writers<\/a>
Hild Borchgrevink, Ida Habbestad <\/p>\n\n\n\n

<\/a>Criticism as a Play-Space<\/a>
Merve Tokg\u00f6z <\/p>\n\n\n\n

<\/a>What If We Just Dance?<\/em> An Example of Interactive Criticism<\/a>
Paraskevi Tektonidou<\/p>\n\n\n\n

Young Critical Practices: Ways of Thinking in and With the Arts<\/a><\/a><\/a>
Anette Therese Pettersen<\/p>\n\n\n\n

<\/a>\u201cParallel Space for Reflection\u201d: Interview with Zala Dobov\u0161ek<\/a>
Tja\u0161a Bertoncelj <\/p>\n\n\n\n

The Young People\u2019s Stage of the National Theatre of Greece: Cultural Politics and Pedagogical Paradigms<\/a>
Zafiris Nikitas <\/p>\n\n\n\n

<\/a>R\u00e9inventer les paysages et dessiner les vols au Th\u00e9\u00e2tre de Marionnettes de Porto<\/a>
Catarina Firmo <\/p>\n\n\n\n

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

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

Sociology of Theatre and Performance: Interview with Maria Shevtsova<\/a>
by Savas Patsalidis<\/p>\n\n\n\n

Our Responsibility Lies in Our Decisions: Interview with Patrice Pavis<\/a>
by \u00c9va Patk\u00f3 and Savas Patsalidis<\/p>\n\n\n\n

A Digital Talk About an Analogue Art: Interview with Erika Fischer-Lichte<\/a>
by Ivan Medenica<\/p>\n\n\n\n

Experiments with Human Nature: Interview with Margarita Mladenova<\/a>
by Kamelia Nikolova<\/p>\n\n\n\n

In Search of Contexts: Interview with Neelam Mansingh Chowdhry<\/a>
by Vikram Phukan<\/p>\n\n\n\n

I Can See you, on Zoom: Interview with Olive Bieringa and Otto Ramstad<\/a>
by Tina Peri\u0107<\/p>\n\n\n\n

\u201cThe Counterpart\u201d Becoming Myself: Interview with Kang Ryang-won<\/a>
by Lee Hwawon<\/p>\n\n\n\n

Documentary Theatre: About Aesthetics and Politics. Interview with Martha Bouziouri<\/a>
by Savas Patsalidis<\/p>\n\n\n\n

De la rencontre aux \u00e9crans: une approche kal\u00e9idoscopique du r\u00e9el : Entretien avec BERLIN<\/a>
par Karolina Svobodova<\/p>\n\n\n\n

Corps, voix, m\u00e9moire : Entretien avec Guy R\u00e9gis Jr.<\/a>
par Jason Allen-Paisant<\/p>\n\n\n\n

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

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

Macmillan\u2019s Pandemic Theatre in Latvia<\/a>
Lauma Mell\u0113na-Bartkevi\u010da<\/p>\n\n\n\n

The Game Is Over<\/a>
Marina (Maka) Vasadze<\/p>\n\n\n\n

Hallucinations of a Finnish Anarchist<\/a>
Matti Linnavuori<\/p>\n\n\n\n

Qui a peur du th\u00e9\u00e2tre ?<\/a>
Camille Khoury<\/p>\n\n\n\n

Defeats to Lament, Lives to Celebrate: Fragments of a Greek Festival<\/a>
Aikaterini Delikonstantinidou<\/p>\n\n\n\n

Th\u00e9\u00e2tre et musique, un mariage risqu\u00e9<\/a>
Selim Lander<\/p>\n\n\n\n

Exodos<\/em>. The Body Is the Oracle<\/a>
Penelope Chatzidimitriou<\/p>\n\n\n\n

Theater of War: The Relevance of Community Arts during the Pandemic<\/a>
Angela Constantinidou<\/p>\n\n\n\n

Les bienfaits collat\u00e9raux d\u2019une pand\u00e9mie \u00e0 Luxembourg<\/a>
St\u00e9phane Gilbart<\/p>\n\n\n\n

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

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

Shakespeare in the Theatre: Patrice Ch\u00e9reau<\/a>
par Philippe Rouyer<\/p>\n\n\n\n

Marionetteatern: 60 Years and More<\/a>
par Louise Lapointe<\/p>\n\n\n\n

TNT: The New Theatre<\/a>
Ian Herbert<\/p>\n\n\n\n

Contemporary Plays by African Women<\/a>
Patricia Keeney<\/p>\n\n\n\n

In Memoriam<\/strong><\/h5>\n\n\n\n

In Memoriam: Remembering Two IATC Laureates<\/em><\/strong>
Editor: Don Rubin<\/a><\/strong> (Canada)<\/p>\n\n\n\n

Kapila Vatsyayan: A Legend of Indian Culture<\/a>
Ravi Chaturvedi<\/p>\n\n\n\n

Kapila Vatsyayan and the IATC Thalia Prize<\/a>
Margareta S\u00f6renson<\/p>\n\n\n\n

Remembering Eric Bentley<\/a>
Don Rubin<\/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":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_seo_schema_type":"","footnotes":""},"class_list":["post-1110","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":1187,"url":"https:\/\/www.critical-stages.org\/22\/publications\/","url_meta":{"origin":1110,"position":0},"title":"Publications","author":"cs2-admin","date":"April 21, 2021","format":false,"excerpt":"Special Topic Theatre Criticism in the Age of Self-Isolation and Social DistancingCo-Editors:\u00a0Yana Meerzon\u00a0(Canada),\u00a0Savas Patsalidis\u00a0(Greece),\u00a0Aisling Murphy\u00a0(Canada) Editors\u2019 Comment: Theatre (Criticism) the Day AfterYana Meerzon, Savas Patsalidis, Aisling Murphy How to Write About Theatre Online WorkshopsMark Fisher CATR Digital Criticism Pedagogies Workshop 2020 RecapKaren Fricker, Michelle Macarthur, Aisling Murphy, Robyn Grant-Moran, Mae\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":899,"url":"https:\/\/www.critical-stages.org\/22\/editorial-note-about-theatre-criticism\/","url_meta":{"origin":1110,"position":1},"title":"Editorial Note","author":"cs2-admin","date":"December 13, 2020","format":false,"excerpt":"About Theatre Criticism Savas Patsalidis* The pandemic is still making headlines around the world, despite the arrival of the vaccines. As far as theatre is concerned, and given the state of world economies, it is not easy to imagine how the \u201cnew reality\u201d of a post-COVID world will turn out.\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/10\/Spats.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":42,"url":"https:\/\/www.critical-stages.org\/22\/cs-issue-no-22-editors\/","url_meta":{"origin":1110,"position":2},"title":"CS Issue No 22 Editors","author":"cs2-admin","date":"September 23, 2020","format":false,"excerpt":"Special Topic, Interviews, National Reports Savas Patsalidis, Professor of theatre and performance history and theory in the School of English (Aristotle University, Thessaloniki), the Hellenic Open University and the Drama School of the National Theatre of Northern Greece. He is also a regular lecturer on the Graduate Programme 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\/22\/wp-content\/uploads\/sites\/23\/2020\/09\/Murphy.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":45,"url":"https:\/\/www.critical-stages.org\/22\/inter-connecting-a-collection-of-useful-links\/","url_meta":{"origin":1110,"position":3},"title":"Inter-Connecting: A Collection of Useful Links","author":"cs2-admin","date":"September 23, 2020","format":false,"excerpt":"Drafted by Katerina Delikonstantinidou* Since it was launched in 2009, Critical Stages\/Sc\u00e8nes Critiques has become well-established as a genuinely inclusive webjournal; the range and diversity of its contributors and the breadth of its intellectual exploration and enquiry attest to that. The journal has an outward-facing, genuinely global vision of theatre\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"Katerina","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/12\/wp-content\/uploads\/sites\/2\/2015\/12\/Katerina-300x259.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":902,"url":"https:\/\/www.critical-stages.org\/22\/editorial-a-propos-de-la-critique-theatrale\/","url_meta":{"origin":1110,"position":4},"title":"\u00c9ditorial","author":"cs2-admin","date":"December 13, 2020","format":false,"excerpt":"\u00c0 propos de la critique th\u00e9\u00e2trale Savas Patsalidis* La pand\u00e9mie continue de faire les manchettes autour du monde, malgr\u00e9 l\u2019arriv\u00e9e des vaccins. Quant au th\u00e9\u00e2tre, et vu l\u2019\u00e9tat de l\u2019\u00e9conomie mondiale, il n\u2019est pas simple d\u2019imaginer quelle sera la \u00ab\u00a0nouvelle r\u00e9alit\u00e9\u00a0\u00bb d\u2019un monde post-COVID. 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