{"id":795,"date":"2020-12-10T17:29:52","date_gmt":"2020-12-10T17:29:52","guid":{"rendered":"https:\/\/www.critical-stages.org\/22\/?p=795"},"modified":"2022-02-05T10:03:48","modified_gmt":"2022-02-05T10:03:48","slug":"macmillans-pandemic-theatre-in-latvia","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/22\/macmillans-pandemic-theatre-in-latvia\/","title":{"rendered":"Macmillan\u2019s Pandemic Theatre in Latvia"},"content":{"rendered":"\n

Lauma Mell\u0113na-Bartkevi\u010da<\/strong>*<\/a><\/p>\n\n\n\n

Duncan Macmillan\u2019s Every Brilliant Thing,<\/em> directed by R\u0113zija Kalni\u0146a at Riga Russian Theatre and by Inese Mi\u010dule at Valmiera Theatre. At Daile Theatre, Lungs<\/em> and Monster<\/em> directed by Dmitrijs Petrenko.<\/strong><\/p>\n\n\n\n

Who is the most staged British playwright? Shakespeare? This might have been true until 2020, when Duncan Macmillan (born in 1981) beat his famous predecessor, at least on Latvian stages. The pandemic may have postponed premieres in the spring, but, currently, Latvian theatres are showing four parallel productions of Macmillan\u2019s plays in three different theatre houses. All have been acclaimed by theatre critics and audiences.<\/p>\n\n\n\n

The triumph of this contemporary British author on Latvian stages can be explained by three facts. First, English-reading Latvian stage directors choose material that resonates with the social contexts they consider relevant for today\u2019s theatre audience; second, most of the stage directors dealing with Macmillan are aged between 35 and 40 and thus peers of the playwright; and third, chamber-style plays requiring only one or few actors are economically efficient and convenient for the present unprecedented circumstances.<\/p>\n\n\n\n

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Every Brilliant Thing<\/em> (directed by Inese Mi\u010dule, Valmiera Theatre, 2020). M\u0101rti\u0146\u0161 Meiers as Boy. Photo: \u0122irts Priednieks-Malnacis<\/figcaption><\/figure><\/div>\n\n\n\n

Macmillan is a master of digging deep into the unconscious and showing a way of thinking and acting that is easy to identify with, at least partially. He is simple in his words and simple in his conclusion that nothing in this world is simple at all. At the same time, he abstains from pure naturalism or cheap melodrama when dealing with addiction, suicide, the twists and turns of relationships or deviant adolescent behaviour in the light of fear, self-torture and invented or real external threats.<\/p>\n\n\n\n

Macmillan\u2019s name first appeared on the Latvian theatre scene in late 2014, when the young stage director Laura Groza-\u0136ibere staged the dramatization by Macmillan and Robert Icke of George Orwell\u2019s 1984<\/em> at the Liep\u0101ja Theatre. A production of People, Places and Things<\/em> by Valters S\u012blis, one of the leading young Latvian stage directors, followed in 2017 at the Latvian National Theatre. Neither of these was \u201ceasy\u201d for the audience to receive, but they were thought-provoking regarding the contradictory meanings of freedom, happiness, consciousness, hope and truth in the liminal space between poisonous substances or powers and individual choices. Following those productions, in 2020 Macmillan seems to be one of the trendiest contemporary foreign authors on Latvian stages, rivalled only by his Russian colleague Ivan Vyrypaev (born in 1974), whose plays have lately attracted the attention of Latvian stage directors Regn\u0101rs Vaivars (adaptation of The Drunken Ones<\/em>, Valmiera Drama Theatre, 2017), Elm\u0101rs Se\u0146kovs (Iran Conference<\/em>, pandemic-time online production, 2020) and M\u0101ra \u0136imele (Euphoria<\/em>, Liep\u0101ja Theatre, 2020), as well as Rolandas Atko\u010d\u016bnas, the Lithuanian stage director working in Latvia (Unbearably Long Embrace<\/em>, Daile Theatre, 2019).<\/p>\n\n\n\n

\"\"
Little Gems of Life<\/em> (directed by R\u0113zija Kalni\u0146a, Mikhail Chekhov Riga Russian Theate, 2020). Ivan Strelcov as Boy. Photo: Inese Kalni\u0146a<\/figcaption><\/figure><\/div>\n\n\n\n

Currently, Latvian audiences can enjoy two different productions of Every Brilliant Thing<\/em> (2013). One of them is staged by the actress and director R\u0113zija Kalni\u0146a (born in 1970) at the Mikhail Chekhov Riga Russian Theatre under the title Little Gems of Life<\/em> (Dz\u012bves d\u0101rgakmenti\u0146i \/ \u0414\u0440\u0430\u0433\u043e\u0446\u0435\u043d\u043d\u044b\u0435 \u043a\u0430\u043c\u0443\u0448\u043a\u0438 \u0436\u0438\u0437\u043d\u0438<\/em>). This premiered on February 29, shortly before all of Europe went into lockdown. Another version, translated literally into Visas lab\u0101s lietas<\/em>, followed in 2017, staged by director Inese Mi\u010dule (born in 1979) at the Valmiera Theatre and premiered on May 29, as the first and therefore very emotional post-lockdown production, in front of two dozen audience members (with a simultaneous online broadcast). Both directors have respected the author\u2019s wishes in localising the story to Latvia, in terms of context as well as maintaining the interactive form with the audience. The story tells of a little boy whose mother has tried to commit suicide, because she \u201cfinds it hard to be happy.\u201d The boy tries to list all the brilliant things worth living for. One can say that the play is about depression and the lengths to which we would go for those we love. However, in the Latvian theatre of 2020 it encourages everyone to make such a list to survive this strange period of social distancing.<\/p>\n\n\n\n

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Little Gems of Life<\/em> (directed by R\u0113zija Kalni\u0146a, Mikhail Chekhov Riga Russian Theate, 2020). Anatoly Fechin as Boy. Photo: Inese Kalni\u0146a<\/figcaption><\/figure><\/div>\n\n\n\n

There are a few curious things about these productions in terms of their directing approach. Both focus on a laboratory of feelings, in which every single person in the audience unconsciously deals with his or her own experiences, thus contributing to the emotional climate in the relatively small hall and inevitably participating in a therapeutic ritual that confirms Macmillan\u2019s statement: \u201cYou are not alone. You are not weird. You will get through it.\u201d In R\u0113zija Kalni\u0146a’s casting, nineteen candidates competed for the protagonist\u2019s role. She asked them to tell one sad and one funny story about their mothers. Finally, she selected two actors, Ivan Strelcov and Anatoly Fechin, and made two different versions of the production. In Inese Mi\u010dule\u2019s production of Every Brilliant Thing<\/em>, every audience member gets a small piece of paper with a number and a few lines, or a larger part to be read out loud or even played along with the protagonist, played by M\u0101rti\u0146\u0161 Meiers. Especially touching is the woman who is asked to take off her shoe and make it talk, in a role play as the dog of the boy\u2019s psychotherapist. The participatory method gives a strange and yet touching effect that is seldom observed in today\u2019s theatre, particularly in the case of relatively traditional state repertory theatre houses, where the \u201cfourth wall\u201d is too often a fundamental construction element. Sharing is caring, says the actor in Macmillan\u2019s words, and the audience seems enchanted by their sincerity and the surprising number of little things in life worth living for, enchanted by having shared this experience with others. Unfortunately, the fourth wall of the computer screen does not result in such enchantment (as proved by personal experience), but at least it generates the desire to return to live theatre, where the joy of watching does not depend on fluctuations of Internet speed or camera angles.<\/p>\n\n\n\n

\"\"
Lungs\/Breath<\/em> (directed by Dmitrijs Petrenko, Daile Theatre, 2020), K\u0101rlis Arnolds Avots as M, Anete Krasovska as W. Photo: M\u0101rcis Baltskars<\/figcaption><\/figure><\/div>\n\n\n\n

On July 15, in the middle of summer, when theatres are usually closed, the Daile Theatre in Riga re-opened to audiences with the premiere of Lungs<\/em>, translated into Latvian as \u201cThe Breath\u201d and staged by director Dmitrijs Petrenko (born in 1981). Historically, the Daile Theatre was the pioneer of contemporary theatre in the twentieth century, when it was led by the legendary Latvian stage director Eduards Smi\u013c\u0123is. The theatre celebrates its centenary in 2020, and Lungs<\/em> turns the nearly 1,000-seat large hall of the theatre into a gigantic black box,<\/em> showing a couple dressed in jeans and sweaters debating the pros and cons of their hypothetical pregnancy versus concerns about the planet\u2019s future. Paradoxically, it works, even in a half-empty hall, where due to current governmental restrictions people sit in every second row, separated by plastic walls between the seats. The actors talk and people laugh and sob in every performance.<\/p>\n\n\n\n

\"\"
Lungs\/Breath<\/em> (directed by Dmitrijs Petrenko, Daile Theatre, 2020), K\u0101rlis Arnolds Avots as M, Anete Krasovska as W. Photo: M\u0101rcis Baltskars<\/figcaption><\/figure><\/div>\n\n\n\n

The couple, named simply M and W in Macmillan\u2019s text, are played by two different pairs of actors. Ieva Segli\u0146a and Gints And\u017e\u0101ns, who also translated the play, represent the couple in their 30s, while their younger colleagues Anete Krasovska and K\u0101rlis Arnolds Avots present the same story involving a man and woman in their 20s, when, naturally, the discussion of a potential descendant is more straightforward than when affected by a biological clock or social pressure.<\/p>\n\n\n\n

\"\"
Lungs\/Breath <\/em>(directed by Dmitrijs Petrenko, Daile Theatre, 2020), Gints And\u017e\u0101ns as M, Ieva Segli\u0146a as W. Photo: M\u0101rcis Baltskars<\/figcaption><\/figure><\/div>\n\n\n\n

The differences between the two casts surprisingly rehabilitate text-based theatre as a valuable form in contemporary performing arts. After the October 13 performance, one of the audience members came on to the large stage of the Daile Theatre and gave a moving speech about the emotions this kind of theatre brings to people, followed by a marriage proposal to his beloved. That unexpected event brought the whole audience to tears, leaving open the question of whether it was a planned scene or the spontaneous effect of a very well performed Macmillan play.<\/p>\n\n\n\n

\"\"
Monster<\/em> (directed by Dmitrijs Petrenko, Daile Theatre, 2020), K\u0101rlis Arnolds Avots as Darryl, Gints And\u017e\u0101ns as Teacher Tom. Photo: Arturs Pavlovs<\/figcaption><\/figure><\/div>\n\n\n\n

In the meantime, a few days earlier, the small hall of the Daile Theatre hosted the premiere of Monster<\/em>, staged again by Dmitrijs Petrenko and played by almost the same team as The Breath<\/em>. The minimalist production of Monster<\/em> lets one appreciate the metamorphosis of K\u0101rlis Arnolds Avots, the youngest actor at the Daile Theatre, from M in The Breath<\/em> to the 15-year-old and \u201calready broken\u201d Darryl, an adolescent prone to violence, with all of the typical neurotic body language, aggressive yet often questioning intonations and persuasive use of slang in mixed English-Russian-Latvian adapted to the local trend. This production is not about the timely subject matter of puberty or childhood traumas shaping the future of an individual; instead, it is about the revival of psychological theatre without any annoying theatricality bordering on pretence or moralising. On the one hand, the immersive effects of Macmillan\u2019s plays make audiences more participatory in theatre performances; on the other hand, they revive the spoken word that seemed to be losing its position in theatre to other elements of the performance.<\/strong> The Breath<\/em> and Monster<\/em> literally bring a new breath to the Daile Theatre, where the new season has been very uneasy first season for the theatre\u2019s new managing director and actor, Juris \u017dagars, and new artistic director, Viesturs Kairi\u0161s.<\/p>\n\n\n\n

There is a Latvian proverb that if something happens twice, it will definitely also happen a third time. I would bet that Macmillan’s 2071 <\/em>(2014), about climate change and related controversies, is somewhere on the wish list of Latvian stage directors. <\/a><\/p>\n\n\n\n

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*<\/a>Lauma Mell\u0113na-Bartkevi\u010da <\/strong>(PhD) is a Latvian music and theatre critic, as well as Head of AICT\/IATC Latvian section. She works as a freelance, publishing articles, reviews and interviews on opera and theatre in the daily press and electronic media as well as in professional magazines since 2004.\u00a0 She currently focuses on the development of international co-operation in theatre theory and practice in the Baltic States.<\/p>\n\n\n\n

Copyright \u00a9<\/strong> 2020 Lauma Mell\u0113na-Bartkevi\u010da
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":800,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_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-795","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-performance-reviews"],"jetpack_featured_media_url":"https:\/\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/12\/PER-Macmillan-Monster.jpg","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":706,"url":"https:\/\/www.critical-stages.org\/22\/migrant-representation-in-the-u-k-theatre-industry-how-covid-19-catalysed-a-movement\/","url_meta":{"origin":795,"position":0},"title":"Migrant Representation in the U.K. Theatre Industry: How Covid-19 Catalysed a Movement","author":"Lauma Mell\u0113na-Bartkevi\u010da","date":"November 23, 2020","format":false,"excerpt":"Sally Beck Wippman,* with contributions by Zhui-Ning Chang** and Lara Parmiani*** Abstract Migrants in Theatre is a movement made up of first-generation migrant theatre artists who joined efforts to campaign for more and better representation of UK based migrant theatre artists in British theatre. Due to the coronavirus pandemic, the\u2026","rel":"","context":"In "Special Topic"","block_context":{"text":"Special Topic","link":"https:\/\/www.critical-stages.org\/22\/category\/special-topic\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/12\/image2-2.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/12\/image2-2.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/12\/image2-2.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/12\/image2-2.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":300,"url":"https:\/\/www.critical-stages.org\/22\/ceci-nest-pas-un-theatre-theatre-in-the-age-of-covid\/","url_meta":{"origin":795,"position":1},"title":"Ceci n\u2019est pas un th\u00e9\u00e2tre: Theatre in the Age of COVID","author":"Lauma Mell\u0113na-Bartkevi\u010da","date":"December 2, 2020","format":false,"excerpt":"Mark Brown* Abstract The response of many theatremakers to the crisis ushered in by the coronavirus pandemic has been to turn to making work on the internet. Some have seen online theatre simply as a necessity, a lifeboat in which theatre can survive until conditions allow for a return to\u2026","rel":"","context":"In "Special Topic"","block_context":{"text":"Special Topic","link":"https:\/\/www.critical-stages.org\/22\/category\/special-topic\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/10\/featured-1.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/10\/featured-1.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/10\/featured-1.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/10\/featured-1.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":214,"url":"https:\/\/www.critical-stages.org\/22\/theatre-and-censorship-in-the-pandemic\/","url_meta":{"origin":795,"position":2},"title":"Theatre and Censorship in the Pandemic","author":"Lauma Mell\u0113na-Bartkevi\u010da","date":"November 25, 2020","format":false,"excerpt":"Patricia Nikolova* Abstract Due to the coronavirus pandemic, theatre faces an unprecedented and global challenge to its existence. Throughout the world, live drama is having to partially \u201cmutate\u201d to survive. The theatre is not alone, of course. All social contacts are in a state of flux, with every aspect of\u2026","rel":"","context":"In "Special Topic"","block_context":{"text":"Special Topic","link":"https:\/\/www.critical-stages.org\/22\/category\/special-topic\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/10\/image3-3.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/10\/image3-3.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/10\/image3-3.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/10\/image3-3.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":194,"url":"https:\/\/www.critical-stages.org\/22\/arts-journalism-and-theatre-in-the-pandemic-era-mutations-redefinitions-and-challenges\/","url_meta":{"origin":795,"position":3},"title":"Arts Journalism and Theatre in the Pandemic Era: Mutations, Redefinitions and Challenges","author":"Lauma Mell\u0113na-Bartkevi\u010da","date":"December 11, 2020","format":false,"excerpt":"Zoe Ververopoulou* Abstract This paper seeks to explore the new landscape that has emerged during the period of the so-called \u201ccorona crisis\u201d within arts (cultural) journalism, focusing specifically on theatre reporting and theatre reviewing. Drawing examples from the Greek and international print and online media, I aim to show the\u2026","rel":"","context":"In "Special Topic"","block_context":{"text":"Special Topic","link":"https:\/\/www.critical-stages.org\/22\/category\/special-topic\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/10\/image5-1.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/10\/image5-1.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/10\/image5-1.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/10\/image5-1.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":905,"url":"https:\/\/www.critical-stages.org\/22\/editors-comment-theatre-criticism-the-day-after\/","url_meta":{"origin":795,"position":4},"title":"Editors\u2019 Comment: Theatre (Criticism) the Day After","author":"Lauma Mell\u0113na-Bartkevi\u010da","date":"December 14, 2020","format":false,"excerpt":"Yana Meerzon,* Savas Patsalidis,** Aisling Murphy*** Pandemic: from the Greek \u201c\u03c0\u03b1\u03bd=all\u201d and \u201c\u03b4\u03ae\u03bc\u03bf\u03c2=people\u201d: something which spreads widely, affecting all people.\u00a0 In just ten months the world has changed. New words have come to dominate our daily lives: \u201clockdown,\u201d \u201csocial isolation,\u201d \u201cself-quarantine,\u201d \u201csocial distancing,\u201d \u201cend of humanism,\u201d \u201cstay safe,\u201d \u201conline theatre.\u201d\u2026","rel":"","context":"In "Special Topic"","block_context":{"text":"Special Topic","link":"https:\/\/www.critical-stages.org\/22\/category\/special-topic\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/11\/image3-6.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/11\/image3-6.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/11\/image3-6.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/11\/image3-6.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":1101,"url":"https:\/\/www.critical-stages.org\/22\/the-young-peoples-stage-of-the-national-theatre-of-greece-cultural-politics-and-pedagogical-paradigms\/","url_meta":{"origin":795,"position":5},"title":"The Young People\u2019s Stage of the National Theatre of Greece: Cultural Politics and Pedagogical Paradigms","author":"Lauma Mell\u0113na-Bartkevi\u010da","date":"January 16, 2021","format":false,"excerpt":"Zafiris Nikitas* Abstract The article looks into the cultural politics of the Young People\u2019s Stage of the National Theatre of Greece (2017\u201320) and examines the various initiatives of the institution that reinvigorate theatre for young audiences in Greece. Its focus is the social engagement and the pedagogical aspect that is\u2026","rel":"","context":"In "Critics on Criticism"","block_context":{"text":"Critics on Criticism","link":"https:\/\/www.critical-stages.org\/22\/category\/critics-on-criticism\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2021\/01\/image5-4.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2021\/01\/image5-4.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2021\/01\/image5-4.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2021\/01\/image5-4.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/22\/wp-json\/wp\/v2\/posts\/795","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/22\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.critical-stages.org\/22\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/22\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/22\/wp-json\/wp\/v2\/comments?post=795"}],"version-history":[{"count":7,"href":"https:\/\/www.critical-stages.org\/22\/wp-json\/wp\/v2\/posts\/795\/revisions"}],"predecessor-version":[{"id":1439,"href":"https:\/\/www.critical-stages.org\/22\/wp-json\/wp\/v2\/posts\/795\/revisions\/1439"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/22\/wp-json\/wp\/v2\/media\/800"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/22\/wp-json\/wp\/v2\/media?parent=795"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.critical-stages.org\/22\/wp-json\/wp\/v2\/categories?post=795"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.critical-stages.org\/22\/wp-json\/wp\/v2\/tags?post=795"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}