{"id":814,"date":"2021-12-23T19:44:22","date_gmt":"2021-12-23T19:44:22","guid":{"rendered":"https:\/\/www.critical-stages.org\/24\/?page_id=814"},"modified":"2021-12-28T17:16:56","modified_gmt":"2021-12-28T17:16:56","slug":"table-of-contents","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/24\/table-of-contents\/","title":{"rendered":"Table of Contents"},"content":{"rendered":"\n

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

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

Aural\/Oral Dramaturgies<\/em><\/strong>
Guest Editors: Du\u0161ka Radosavljevi\u0107<\/a> (UK) and Flora Pitrolo<\/a> (Italy\/UK)<\/p>\n\n\n\n

Aural\/Oral Dramaturgies: Editors\u2019 Introduction<\/a>
Du\u0161ka Radosavljevi\u0107 and Flora Pitrolo <\/p>\n\n\n\n

Dramaturging from Within: The Dramaturg as First Experiencer in Immersive Audio<\/a>
Hanna Sl\u00e4ttne<\/p>\n\n\n\n

Embodying the Extra-Corporeal: Releasing the Voice from Bodily Limitations Using Mediated Voice in Singing Training<\/a>
Shannon Holmes<\/p>\n\n\n\n

YOU and ME\u2014Where and How Do We Meet<\/a>
Electa Behrens and \u00d8ystein Elle<\/p>\n\n\n\n

Sounds of the City: Dramaturgy, Space, Identity<\/a>
Katie Beswick and Javon Johnson<\/p>\n\n\n\n

Orality as Dramaturgy in the Khasi-Welsh Performance Exchange: Performing Journeys by the Khasi-Cymru Collective<\/a>
Lisa Lewis and Lapdiang Syiem<\/p>\n\n\n\n

Aural\/Oral Histories of Pain and Trust in Satoshi Miyagi\u2019s R\u00e9v\u00e9lation<\/em><\/a>
Tomoka Tsukamoto and Ted Motohashi<\/p>\n\n\n\n

Aurality and the Actor in Filter Theatre\u2019s Twelfth Night<\/em><\/a>
Sarah McCourt<\/p>\n\n\n\n

The Hearing Body in Robert Wilson\u2019s and Mikhail Baryshnikov\u2019s Letter to a Man<\/em><\/a>
Sylvia Solakidi<\/p>\n\n\n\n

Staged Installation, Reported Speech, and Syndemic Images in Blindness<\/em> and Caretaker<\/em> (2020)<\/a>
Georgina Guy<\/p>\n\n\n\n

Strategies in The Underhe(a)rd: Listening in to New Compositional Queer Performance-making<\/a>
Peta Murray, Alyson Campbell and Meta Cohen<\/p>\n\n\n\n

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

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

Heterarchical Dramaturgies<\/a>
Katalin Trencs\u00e9nyi<\/p>\n\n\n\n

Embodying History: Preserving Memories of Holocaust Survivors Through Performance<\/a>
Anthony Hostetter<\/p>\n\n\n\n

Sculpting China: Critical Puppetry and the Formation of Diasporic Identity in Chang and Eng and Me (and Me)<\/em><\/a>
Tobi Poster-Su<\/p>\n\n\n\n

Re-visiting Greek National Narrative through Devised Theatre Practices: The Case of Michael Marmarinos<\/a>
Constantina Ziropoulou<\/p>\n\n\n\n

Sonic Antagonism: The Sounding Audience of Performance<\/a>
Andrej Mir\u010dev<\/p>\n\n\n\n

Like a Whisper: Rethinking the Politics of Voice and Performance with Tania Bruguera<\/a>
Anika Marschall<\/p>\n\n\n\n

Loss and Being Lost: Performing Precarity through Multilingual Text, Song and Music in Zoo Indigo\u2019s Don\u2019t Leave Me This Way<\/em><\/a>
Rosie Garton and Ildik\u00f3 Rippel<\/p>\n\n\n\n

Devising, Decolonizing, and Disrupting American Musical Theatre Aural Anatomy Through the Playlist Musical<\/a>
Natalie Rine<\/p>\n\n\n\n

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

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

Capturing Hong Kong and Theatre Through Stage Photography<\/a>
Bernice Kwok-wai Chan<\/p>\n\n\n\n

South Korean Audiences and their Interactive Performance in the Madang Then and Now<\/a>
Younghee Park, Jeremy Neideck and Caroline Heim<\/p>\n\n\n\n

Endangered Theatre: A Philippine Notebook<\/a>
Katrina Stuart Santiago<\/p>\n\n\n\n

Tadashi Suzuki and Theodoros Terzopoulos: Crossing Boundaries, Creating Bridges<\/a>
Penelope Chatzidimitriou<\/p>\n\n\n\n

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

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

Anatomy, Mon Amour<\/a>
Johannes Birringer and Mich\u00e8le Danjoux<\/p>\n\n\n\n

On False Intimacies and Anti-Cathartic Modalities of Being in the Digital Performances of Crisis<\/a>
Yana Meerzon<\/p>\n\n\n\n

Fragments of Thought About the Tragic Fragments: Theodoros Terzopoulos\u2019 Views on Fragmentary Greek Tragedy<\/a>
Menelaos Karantzas<\/p>\n\n\n\n

Conference Papers<\/strong><\/h5>\n\n\n\n

Editor: Ivan Medenica<\/a> (Serbia)<\/p>\n\n\n\n

Franchised\/Recycled Performance as a Theatre of Ecology<\/a>
Ivan Medenica<\/p>\n\n\n\n

Anthropocentrism on the Stage<\/a>
Milo Jur\u00e1ni<\/p>\n\n\n\n

Phenomena of Recycling in the Context of the Current Independent Scene in Slovakia<\/a>
Miroslav Ballay<\/p>\n\n\n\n

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

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

Pumpkin and Public Sphere: Interview with Tadashi Suzuki<\/a>
by Ted Motohashi<\/p>\n\n\n\n

The Access Point in St. Petersburg: Interview with Filipp Vulakh, Yulia Kleiman and Alexei Platunov<\/a>
by Nikolai Pesochinsky<\/p>\n\n\n\n

The Theatre Leads, and Criticism Follows: Interview with Italian Theatre Critic Andrea Porcheddu<\/a>
by Margherita Laera<\/p>\n\n\n\n

The Global Role of ITI: Interview with Tobias Biancone<\/a>
by Savas Patsalidis<\/p>\n\n\n\n

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

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

New Normal Performance: Bangkok Owns the Virtual<\/a>
Katrina Stuart Santiago<\/p>\n\n\n\n

Back to the Tent: Canada\u2019s Stratford Festival Goes Retro During the Pandemic<\/a>
Martin Morrow<\/p>\n\n\n\n

Choc de cultures entre l\u2019Occident et le tiers-monde<\/a>
Michel Va\u00efs<\/p>\n\n\n\n

Dada Shakespeare: Oakland Fun during the Plague<\/a>
Lissa Tyler Renaud<\/p>\n\n\n\n

A Jumbo Hamlet<\/a>
Patricia Keeney<\/p>\n\n\n\n

Au c\u0153ur de la ville avec Rimini Protocoll<\/a>
Zo\u00e9 Ververopoulou<\/p>\n\n\n\n

Romanian Theatre: Waiting for the Present to Take Shape<\/a>
Kinga Boros<\/p>\n\n\n\n

Buenos Aires to Bucharest: Piazzolla\u2019s Maria Travels through the Ages<\/a>
Maria Z\u0103rnescu<\/p>\n\n\n\n

Slovakia reaches out to the Universe<\/a>
Matti Linnavuori<\/p>\n\n\n\n

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

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

Timelines: Writings and Conversation<\/a>
Patricia Keeney<\/p>\n\n\n\n

Migrating Shakespeare: First European Encounters, Routes and Networks<\/a>
Philippe Rouyer<\/p>\n\n\n\n

20 Groundbreaking Directors of Eastern Europe: 30 Years After the Fall of the Iron Curtain<\/a>
Ian Herbert<\/p>\n\n\n\n

Rediscovering Stanislavsky<\/a>
Nathan Thomas<\/p>\n\n\n\n

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

Sir Antony Sher: Actor, Artist, Diarist, Novelist, Playwright<\/a>
Ian Herbert<\/p>\n\n\n\n

Ion Caramitru \u2013 An Artistic Guiding Force (1942-2021)<\/a>
Maria Z\u0103rnescu<\/p>\n\n\n\n

Ion Caramitru, un acteur plus qu\u2019acteur<\/a>
Georges Banu<\/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-814","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":280,"url":"https:\/\/www.critical-stages.org\/24\/cs-issue-no-24-editors\/","url_meta":{"origin":814,"position":0},"title":"CS Issue No 24 Editors","author":"cs2-admin","date":"November 9, 2021","format":false,"excerpt":"Special Topic Du\u0161ka Radosavljevi\u0107\u00a0is a writer, dramaturg and Reader in Contemporary Theatre and Performance at the Royal Central School of Speech and Drama, University of London. Her scholarly work focuses on modes of authorship in contemporary theatre and, in addition, she has written for and about performance in various contexts\u202fincluding\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/PER-Maria-de-Buenos-7.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/PER-Maria-de-Buenos-7.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/PER-Maria-de-Buenos-7.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/PER-Maria-de-Buenos-7.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":808,"url":"https:\/\/www.critical-stages.org\/24\/editorial-note\/","url_meta":{"origin":814,"position":1},"title":"Editorial Note","author":"cs2-admin","date":"December 23, 2021","format":false,"excerpt":"Reshufflings Savas Patsalidis* Dear reader, Happy New Year! Almost two years have gone by since the beginning of the pandemic, two difficult and frustrating years for everyone, particularly for all those involved with the theatre. This colossal humanitarian crisis that has affected all societies, their economies and their arts at\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/Savas-Patsalidis-140x150.jpeg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":812,"url":"https:\/\/www.critical-stages.org\/24\/note-editoriale\/","url_meta":{"origin":814,"position":2},"title":"Note \u00e9ditoriale","author":"cs2-admin","date":"December 23, 2021","format":false,"excerpt":"Remaniements Savas Patsalidis* Chers lecteurs, ch\u00e8res lectrices, Bonne ann\u00e9e\u00a0! Pr\u00e8s de deux ans se sont \u00e9coul\u00e9s depuis le d\u00e9but de la pand\u00e9mie, deux ann\u00e9es difficiles et frustrantes pour tout le monde, et pour les gens de th\u00e9\u00e2tre en particulier. Cette crise humanitaire colossale, qui a touch\u00e9 toutes les soci\u00e9t\u00e9s, leurs\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/Savas-Patsalidis-140x150.jpeg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":821,"url":"https:\/\/www.critical-stages.org\/24\/inter-connecting-a-collection-of-useful-links\/","url_meta":{"origin":814,"position":3},"title":"Inter-Connecting: A Collection of Useful Links","author":"cs2-admin","date":"December 23, 2021","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":[]}],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/pages\/814","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/comments?post=814"}],"version-history":[{"count":7,"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/pages\/814\/revisions"}],"predecessor-version":[{"id":844,"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/pages\/814\/revisions\/844"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/media?parent=814"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}