{"id":665,"date":"2021-06-12T08:23:19","date_gmt":"2021-06-12T08:23:19","guid":{"rendered":"https:\/\/www.critical-stages.org\/23\/?page_id=665"},"modified":"2021-07-01T18:46:08","modified_gmt":"2021-07-01T18:46:08","slug":"table-of-contents","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/23\/table-of-contents\/","title":{"rendered":"Table of Contents"},"content":{"rendered":"\n

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

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

Unstable Grounds: Reconfigurations of Performance and Politics<\/em><\/strong>
Guest Editors: Gigi Argyropoulou<\/a> and Stefanie Sachsenmaier<\/a><\/p>\n\n\n\n

Editors\u2019 Note<\/a>
Gigi Argyropoulou and Stefanie Sachsenmaier<\/p>\n\n\n\n

Mutations in Crisis: Generic Engineering in Contemporary Southeast Asian Dance<\/a>
Aparna R Nambiar<\/p>\n\n\n\n

The Self-Immolation of David Buckel: Towards a Postdramatic Activism<\/a>
Victoria Scrimer<\/p>\n\n\n\n

Hybrid Nativism and Postcolonial Subjectivity in the Work of Hong Kong Choreographer Helen Lai<\/a>
Chen Ya-Ping<\/p>\n\n\n\n

Black Privilege in the Black Box: Mamela Nyamza\u2019s Choreographic Resistance<\/a>
Rainy Demerson<\/p>\n\n\n\n

The Fall of Greatness: Toward an Aesthetics of Co-(re)production<\/a>
Cecilie Ullerup Schmidt<\/p>\n\n\n\n

Unstable Histories: Repertoires of Memory and the Making of Public Spheres in Contemporary Greece<\/a>
Philip Hager<\/p>\n\n\n\n

Challenging Settler Colonial Choreographies During COVID-19: Acosia Red Elk\u2019s Powwow Yoga<\/a>
Tria Blu Wakpa<\/p>\n\n\n\n

Lin Hwai-min\u2019s Water Stains on the Wall<\/em>: A Cosmopolitical Perspective<\/a>
Kin-Yan Szeto<\/p>\n\n\n\n

Destabilizing Impersonation, Cleaving Gender Non-conformity: Akshayambara and Lady Anandi<\/a>
Supraja R<\/p>\n\n\n\n

Theatre Strike for Climate: Lending a Voice to Nature in Tribunal Theatre<\/a>
Steff Nellis<\/p>\n\n\n\n

Ethical Shadows and the Political Subject<\/a>
Natassa Siouzouli<\/p>\n\n\n\n

Contexts, Traces, Inspiration: Three Statements of Working Principles from the Former Yugoslav Space<\/a>
Alexandra Baybutt<\/p>\n\n\n\n

Rehearsing \u201cKaren\u201d: The Dramaturgy and Politics of Cross-cultural Digital Theatre<\/a>
CHENG\u200b Nien Yuan<\/p>\n\n\n\n

\u201cWe\u2019re all part of the same collective, we just haven\u2019t quite figured that out yet\u201d: Dramaturgies of Participation in The People\u2019s Palace of Possibility<\/a>
Frances Babbage, Malaika Cunningham, Zelda Hannay, Joseph Houlders<\/p>\n\n\n\n

Movement through Disorientation: The De-stress through Movement Activity Pack Created for Music in Detention<\/a>
Jane Munro<\/p>\n\n\n\n

I Dance for the Dead<\/a>
The Blue and Black in the Pacific: A Eulogy for Teresia Teaiwa<\/a>
Ojeya Cruz Bank<\/p>\n\n\n\n

Performance and Politics in a Time of Confinement: Virtual Stages between South Africa and African America<\/a>
Loren Kruger<\/p>\n\n\n\n

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

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

Playful Learning in Actor Training: The Impact of COVID-19 on Spontaneity and Intuition<\/a>
Anna McNamara<\/p>\n\n\n\n

Reimagining Production Pedagogy in Response to COVID-19: A New Pedagogical Model for Creating Virtual Online Performance<\/a>
Tessa Rixon, Anthony Brumpton, Carly O\u2019Neill<\/p>\n\n\n\n

Applied Drama for Education and Social Change in Nigeria<\/a>
Mnena Abuku<\/p>\n\n\n\n

Transnational Subjectivities of Arab Artists in Europe<\/a>
Ruba Totah<\/p>\n\n\n\n

\u201cI\u2019m a Pretty Squid, Mama\u201d: The Ongoing Self-Referential Legacy of Gypsy<\/em><\/a>
Michael Schwartz<\/p>\n\n\n\n

You\u2019re Invited to a Party: Three Women\u2019s Autobiographical Plays in a Festival Context<\/a>
Shelley Scott<\/p>\n\n\n\n

Le metteur en sc\u00e8ne face au d\u00e9fi de l\u2019exil<\/a>
Georges Banu<\/p>\n\n\n\n

La r\u00e9silience des pratiques de th\u00e9\u00e2tralit\u00e9 \u00e0 travers les \u00e2ges : exemples du bassin linguistique arabe et du Maroc<\/a>
Baker Saddiki<\/p>\n\n\n\n

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

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

Creating In-between Times and Identities: Expressions of Contemporary Theatre in Guatemala<\/a>
Regina Solis Miranda and Luis Antonio Morales Rodr\u00edguez<\/p>\n\n\n\n

Hands-on and Group Work: Online Theatre Criticism in Brazil<\/a>
Daniele Avila Small<\/p>\n\n\n\n

The Night Before Christmas<\/a>
John Elsom<\/p>\n\n\n\n

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

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

Gender Equality and Diversity in European Theatres: Interview with Heidi Wiley<\/a>
by Elizabeth Sakellaridou<\/p>\n\n\n\n

Krytyczki as Activists: On Theatre Criticism, Affect, Objectivism and #MeToo in Polish Drama Schools: Interview with Monika Kwa\u015bniewska<\/a>
by Kasia Lech<\/p>\n\n\n\n

Curating as Placing Stones to be Picked up: Interview with Anne-C\u00e9cile Sibu\u00e9-Birkeland<\/a>
by Anette Therese Pettersen<\/p>\n\n\n\n

Crucial Collaboration in International Networks: Interview with Sarah Melin<\/a>
by Theresa Bener<\/p>\n\n\n\n

All my Life I Have Sought Freedom: Interview with Zolt\u00e1n Bal\u00e1zs<\/a>
by Tamara Susoi<\/p>\n\n\n\n

Mexican avant-garde: Interviews with Jorge Vargas and Gabino Rodriguez<\/a>
by Steve Capra<\/p>\n\n\n\n

A Chronicle of China\u2019s Pandemic Theatre: The Word from Nine Theatre Artists<\/a>
by Lissa Tyler Renaud<\/p>\n\n\n\n

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

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

The Ritual of Killing Fascists: Theatre and Sacrifice<\/a>
Rui Pina Coelho<\/p>\n\n\n\n

Who Are the Hypocrites? Moli\u00e8re in the Know<\/a>
Aikaterini Delikonstantinidou<\/p>\n\n\n\n

Une d\u00e9nonciation astucieuse de l\u2019islam radical<\/a>
Selim Lander<\/p>\n\n\n\n

Drive-In Theatre: The World at Oakland\u2019s Beaux-Arts Train Station<\/a>
Lissa Tyler Renaud<\/p>\n\n\n\n

Loud Voices from the Heart of Europe<\/a>
Christine Matvienko<\/p>\n\n\n\n

Weighing Everyday Adventure against Suicide<\/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

Contemporary Latvian Theatre, A Decade Bookazine<\/a>
Matti Linnavuori<\/p>\n\n\n\n

Latinx Reception of Greek Tragic Myth: Healing (and) Radical Politics<\/a>
Guillermo Avil\u00eds-Rodr\u00edguez<\/p>\n\n\n\n

Lagarce, une vie de th\u00e9\u00e2tre<\/a>
Selim Lander<\/p>\n\n\n\n

Studying Robert Lepage: A Micro Industry<\/a>
Mark Fisher<\/p>\n\n\n\n

Dancers, Artists, Lovers: Ballets Su\u00e9dois 1920\u20131925<\/a>
Anna \u00c2ngstr\u00f6m<\/p>\n\n\n\n

Thalia Prize<\/strong><\/h5>\n\n\n\n

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

Tadashi Suzuki\u2019s Globally Local Theatre<\/a>
Savas Patsalidis<\/p>\n\n\n\n

Tadashi Suzuki and the Thalia Prize<\/a>
Margareta S\u00f6renson<\/p>\n\n\n\n

Laudation for Tadashi Suzuki\u2019s Thalia Prize<\/a>
Anne Bogart<\/p>\n\n\n\n

For the Future of Theatre<\/a>
Tadashi Suzuki<\/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-665","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":55,"url":"https:\/\/www.critical-stages.org\/23\/cs-issue-no-23-editors\/","url_meta":{"origin":665,"position":0},"title":"CS Issue No 23 Editors","author":"cs2-admin","date":"April 11, 2021","format":false,"excerpt":"Special Topic Gigi Argyropoulou (PhD Roehampton University, MA Dartington College of Art) is a researcher, theorist, director, dramaturg and curator working in the fields of performance and cultural practice.\u00a0Gigi has co-initiated and organised research events, public programmes, interventions, festivals, conferences, performances, actions and cultural projects both inside and outside institutions.\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/23\/wp-content\/uploads\/sites\/24\/2021\/05\/gigi_argyropoulou.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":812,"url":"https:\/\/www.critical-stages.org\/23\/editorial-note\/","url_meta":{"origin":665,"position":1},"title":"Editorial Note","author":"cs2-admin","date":"June 20, 2021","format":false,"excerpt":"Changing World\/Changing Theatre Savas Patsalidis* Our world is undergoing radical changes at an accelerating speed, changes that transform industries, reshape consumer demands and taste, challenge conventional logics, issues of gender and justice, sexual mores, politics of identity and established dichotomies, and certainly education. Mastering content knowledge is no longer sufficient\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/23\/wp-content\/uploads\/sites\/24\/2021\/05\/Savas_Patsalidis400.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":815,"url":"https:\/\/www.critical-stages.org\/23\/editorial\/","url_meta":{"origin":665,"position":2},"title":"\u00c9ditorial","author":"cs2-admin","date":"June 20, 2021","format":false,"excerpt":"Changer le monde\/Changer le th\u00e9\u00e2tre Savas Patsalidis* Notre monde subit des changements radicaux \u00e0 grande vitesse\u00a0; des changements qui transforment les industries, reconfigurent les demandes et les go\u00fbts des consommateurs, d\u00e9fient les logiques conventionnelles, les questions de genres et de justice, les m\u0153urs sexuelles, les donn\u00e9es d\u2019identit\u00e9 et de bipolarit\u00e9,\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/23\/wp-content\/uploads\/sites\/24\/2021\/05\/Savas_Patsalidis400.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/23\/wp-json\/wp\/v2\/pages\/665","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/23\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/23\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/23\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/23\/wp-json\/wp\/v2\/comments?post=665"}],"version-history":[{"count":14,"href":"https:\/\/www.critical-stages.org\/23\/wp-json\/wp\/v2\/pages\/665\/revisions"}],"predecessor-version":[{"id":909,"href":"https:\/\/www.critical-stages.org\/23\/wp-json\/wp\/v2\/pages\/665\/revisions\/909"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/23\/wp-json\/wp\/v2\/media?parent=665"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}