{"id":635,"date":"2021-12-18T09:26:04","date_gmt":"2021-12-18T09:26:04","guid":{"rendered":"https:\/\/www.critical-stages.org\/24\/?p=635"},"modified":"2021-12-20T20:30:43","modified_gmt":"2021-12-20T20:30:43","slug":"au-coeur-de-la-ville-avec-rimini-protocoll","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/24\/au-coeur-de-la-ville-avec-rimini-protocoll\/","title":{"rendered":"Au c\u0153ur de la ville avec Rimini Protocoll"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\"><strong>Zo\u00e9 Ververopoulou<\/strong><a href=\"#end\" name=\"back\">*<\/a><\/p>\n\n\n\n<p class=\"has-background wp-block-paragraph\" style=\"background-color:#e3c7ca\">Rimini Protocoll, <em>Remote Thessaloniki<\/em>. Conception\/Sc\u00e9nario\/Mise en sc\u00e8ne&nbsp;: Stefan Kaegi. Recherche\/sc\u00e9nario\/mise en sc\u00e8ne \u00e0 Thessalonique&nbsp;: J\u00f6rg Karrenbauer. Assistant \u00e0 la mise en sc\u00e8ne \u00e0 Thessalonique&nbsp;: Sotiris Roumeliotis. Thessalonique, Gr\u00e8ce, septembre 2021.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Notre rendez-vous est \u00e0 18 h dans le vieux cimeti\u00e8re d\u2019Evangelistria. Situ\u00e9 au c\u0153ur de la ville, il est aujourd\u2019hui un des monuments embl\u00e9matiques de Thessalonique, portant les traces d\u2019une longue histoire nationale&nbsp;: domination ottomane, deux guerres mondiales, occupation allemande, guerre civile et dictature des colonels dans les ann\u00e9es \u201970.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nous portons nos casques audio \u2013&nbsp;nous sommes \u00e0 peu pr\u00e8s 25-30 personnes&nbsp;\u2013 et l\u2019\u00ab&nbsp;aventure&nbsp;\u00bb commence par une d\u00e9ambulation contemplative parmi les tombes et les statues fun\u00e9raires de ce lieu symbolique. Une voix f\u00e9minine, calme et suggestive, nous guide, chuchotant \u2013&nbsp;en grec&nbsp;\u2013 \u00e0 nos oreilles des pens\u00e9es mi-macabres, mi-ludiques sur la vanit\u00e9 de l\u2019existence, le destin du corps humain et les fonctions de la m\u00e9moire. Elle se pr\u00e9sente&nbsp;: elle s\u2019appelle M\u00e9lina, mais elle n\u2019existe pas dans le monde r\u00e9el, elle est \u00ab&nbsp;synth\u00e9tique&nbsp;\u00bb, g\u00e9n\u00e9r\u00e9e par un programme d&#8217;intelligence artificielle. Elle nous incite ensuite \u00e0 former un groupe&nbsp;; c\u2019est gr\u00e2ce \u00e0 elle que nous demeurerons \u00ab&nbsp;connect\u00e9s&nbsp;\u00bb pendant les 100 minutes de notre promenade. Suivant ses instructions, nous nous dirigeons vers la sortie du cimeti\u00e8re pour continuer notre parcours en plein centre-ville.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-full\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"533\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/PER-RiminiProto-1.jpg?resize=800%2C533&#038;ssl=1\" alt=\"\" class=\"wp-image-639\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/PER-RiminiProto-1.jpg?w=800&amp;ssl=1 800w, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/PER-RiminiProto-1.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/PER-RiminiProto-1.jpg?resize=768%2C512&amp;ssl=1 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/><figcaption>Confront\u00e9(e)s \u00e0 la m\u00e9lancolie du cimeti\u00e8re. Photo&nbsp;: Tassos Thomoglou, pour le Th\u00e9\u00e2tre national de la Gr\u00e8ce du Nord<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Nous voil\u00e0 donc immerg\u00e9s, d\u00e8s les premi\u00e8res minutes, dans l\u2019univers singulier de <em>Remote Thessaloniki<\/em>, une promenade acoustique propos\u00e9e par le collectif Rimini Protocoll, dans le cadre du 3<sup>e<\/sup> Festival international de la For\u00eat, organis\u00e9 par le Th\u00e9\u00e2tre National de la Gr\u00e8ce du Nord. Le projet, qui a d\u00e9j\u00e0 connu plusieurs versions internationales sous le titre <em>Remote X <\/em>(X= Vilnius, Le Havre, Lausanne, Belgrade, Copenhague, etc.), s\u2019av\u00e8re un choix id\u00e9al en temps de pand\u00e9mie, car il se d\u00e9roule \u00e0 l\u2019ext\u00e9rieur, permettant ainsi aux spectateurs de garder les distances de s\u00e9curit\u00e9. Nouvel accessoire obligatoire, \u00e0 part les casques audio&nbsp;: le masque.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-full\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"533\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/PER-RiminiProto-2.jpg?resize=800%2C533&#038;ssl=1\" alt=\"\" class=\"wp-image-638\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/PER-RiminiProto-2.jpg?w=800&amp;ssl=1 800w, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/PER-RiminiProto-2.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/PER-RiminiProto-2.jpg?resize=768%2C512&amp;ssl=1 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/><figcaption>\u00c0 la sortie du cimeti\u00e8re, pr\u00eat(e)s \u00e0 red\u00e9couvrir la ville. Photo&nbsp;: Tassos Thomoglou, pour le Th\u00e9\u00e2tre national de la Gr\u00e8ce du Nord<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Une fois sortis dans les rues de Thessalonique, nous nous transformons en touristes dans notre propre ville&nbsp;; nous re-cartographions et nous d\u00e9chiffrons son paysage quotidien en nous d\u00e9pla\u00e7ant. Impossible de ne pas penser \u00e0 la notion du \u00ab&nbsp;fl\u00e2neur&nbsp;\u00bb telle que Baudelaire et Walter Benjamin l\u2019ont trait\u00e9e, et m\u00eame \u00e0 Michel de Certeau, pour qui c\u2019est le marcheur qui transforme la rue en espace. Cependant, <em>Remote Thessaloniki<\/em> comporte en plus une forte dimension technologique, qui enrichit l\u2019exp\u00e9rience du pi\u00e9ton par la cr\u00e9ation d\u2019un espace parall\u00e8le sonore, d\u2019o\u00f9 les fragments de musique et la voix immat\u00e9rielle de M\u00e9lina, qui dictent le rythme et la vitesse de la promenade. Si le processus rappelle en partie les audioguides des mus\u00e9es, la perspective artistique de Stefan Kaegi qui a con\u00e7u le projet est beaucoup plus complexe. La combinaison \u00ab&nbsp;\u0153il-oreille-corps mouvant&nbsp;\u00bb multiplie et recompose sans cesse les stimuli ext\u00e9rieurs, ce qui modifie notre perception sensorielle et sugg\u00e8re un nouveau \u00ab&nbsp;mode d\u2019emploi&nbsp;\u00bb du r\u00e9el et du d\u00e9j\u00e0 connu&nbsp;; en m\u00eame temps, nos d\u00e9tours, raccourcis et arr\u00eats momentan\u00e9s accroissent le nombre des possibles fix\u00e9s par l\u2019ordre b\u00e2ti, d\u00e9voilant un environnement urbain polyvalent et en constante mutation.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Remote Thessaloniki | Rimini Protokoll - Trailer\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/nc40bAfRr5Y?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><figcaption>Trailer,  par Ada Liakou, pour le Th\u00e9\u00e2tre national de la Gr\u00e8ce du Nord <\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Il est \u00e9vident que la nature sp\u00e9cifique du projet soul\u00e8ve une s\u00e9rie de questions \u2013&nbsp;qui, par ailleurs, pr\u00e9occupent depuis longtemps le th\u00e9\u00e2tre contemporain&nbsp;\u2013 sur les composantes traditionnelles et l\u2019ontologie m\u00eame du genre th\u00e9\u00e2tral. \u00c9tant donn\u00e9 que les com\u00e9diens sont physiquement absents, c\u2019est d\u2019abord le statut du spectateur qui est reconsid\u00e9r\u00e9&nbsp;; la mobilit\u00e9 de son corps et le processus de l\u2019\u00e9coute active l\u2019installent au centre du spectacle, le transformant en participant et co-cr\u00e9ateur, appel\u00e9 \u00e0 appr\u00e9hender la ville comme sc\u00e8ne et salle \u00e0 la fois.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">En effet, lorsque la voix de M\u00e9lina nous demande tant\u00f4t d\u2019observer pour quelques instants les clients d\u2019un caf\u00e9 ou les gens qui passent, tant\u00f4t de d\u00e9filer dans la rue comme des mannequins ou danser sur une place devant tout le monde, nous \u00e9voluons en une sorte de \u00ab&nbsp;spect-acteurs&nbsp;\u00bb, agissants mais pas vraiment autonomes. \u00c0 part la porosit\u00e9 des fronti\u00e8res entre la performance th\u00e9\u00e2trale et le monde r\u00e9el, ce qui est \u00e9galement explor\u00e9 \u00e0 travers ces microactions guid\u00e9es, ce sont les limites de notre ob\u00e9issance \u00e0 des r\u00e8gles et consignes \u00e9manant d\u2019une autorit\u00e9 ext\u00e9rieure non identifi\u00e9e, ainsi que la place et la fonction de l\u2019individu \u00e0 l\u2019int\u00e9rieur du groupe. Gr\u00e2ce \u00e0 la technologie des casques audio, qui isolent et relient \u00e0 la fois, les participants forment une communaut\u00e9 temporaire, au sein de laquelle setissent des rapports de solidarit\u00e9 et de confiance, mais aussi de concurrence ou de force. On est ensemble, on se partage les m\u00eames \u00ab&nbsp;missions&nbsp;\u00bb et le m\u00eame espace public, on marche l\u2019un \u00e0 c\u00f4t\u00e9 de l\u2019autre, mais qui pr\u00e9c\u00e8de, qui suit et qui arrive le dernier&nbsp;? Dans quelle mesure est-ce qu\u2019on accepte ou on met en question la logique et le pouvoir des algorithmes qui nous guident&nbsp;? Et quelles seront les cons\u00e9quences pour le groupe (et pour le spectacle) si un de ses membres adopte des conduites d\u00e9viantes&nbsp;?<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-full\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"449\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/PER-RiminiProto-3.jpg?resize=800%2C449&#038;ssl=1\" alt=\"\" class=\"wp-image-637\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/PER-RiminiProto-3.jpg?w=800&amp;ssl=1 800w, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/PER-RiminiProto-3.jpg?resize=300%2C168&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/PER-RiminiProto-3.jpg?resize=768%2C431&amp;ssl=1 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/><figcaption>Dans la rue, en position de ballet. Photo&nbsp;: Areti Kondylidou<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Amusant mais implicitement inqui\u00e9tant, oscillant adroitement entre le l\u00e9ger et le s\u00e9rieux, <em>Remote Thessaloniki<\/em> interroge l\u2019esprit et l\u2019imaginaire de la ville, tout en suscitant une r\u00e9flexion existentielle, philosophique et sociopolitique sur l\u2019intime et le collectif, l\u2019urbain et l\u2019humain, la masse et ses leaders, la fragilit\u00e9 des constructions cognitives, la citoyennet\u00e9, la technologie, la vie, la mort\u2026 En fait, bien que la densit\u00e9 du contenu soit incontestable, un grand nombre de sujets est effleur\u00e9 en passant, ce qui rend certaines parties du \u00ab&nbsp;sc\u00e9nario&nbsp;\u00bb audio un peu disparates et les axes dramaturgiques moins clairs. Mais il est vrai que cette volont\u00e9 de tout dire s\u2019harmonise enti\u00e8rement avec le temp\u00e9rament du projet, qui vise \u00e0 transmettre un sentiment de fluidit\u00e9 et de changement continuel (corps et pens\u00e9es en mouvement), perturbant les certitudes des participants sur leur propre individualit\u00e9 et sur le monde qui les entoure.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">La notion de texte th\u00e9\u00e2tral est \u00e9galement mise en question&nbsp;; mati\u00e8re sonore qui sollicite l\u2019\u00e9coute, la vue et la marche pour fonctionner, elle \u00e9voque certains proc\u00e9d\u00e9s du th\u00e9\u00e2tre radiophonique, mais elle se distingue de celui-ci par ses conditions de transmission et son caract\u00e8re injonctif, impliquant des participants dociles (ou complices) qui agissent. La dramaturgie minimise l\u2019impr\u00e9vu mais ne l\u2019exclut pas, alors que les \u00ab&nbsp;assistants&nbsp;\u00bb de M\u00e9lina nous accompagnent en silence, toujours pr\u00eats \u00e0 g\u00e9rer les surprises. On devine un travail pr\u00e9alable tr\u00e8s pr\u00e9cis, qui rattache le verbal au spatiotemporel, afin que les mots correspondent exactement aux diff\u00e9rents moments de notre itin\u00e9raire. \u00c0 l\u2019humour et \u00e0 une ironie discr\u00e8tement grin\u00e7ante succ\u00e8dent un certain lyrisme, des phrases inattendues, et des r\u00e9f\u00e9rences sporadiques aux probl\u00e8mes de (ou aux clich\u00e9s li\u00e9s \u00e0) Thessalonique, jusqu\u2019au moment o\u00f9 nous sommes emmen\u00e9s \u00e0 une \u00e9glise, incit\u00e9s \u00e0 m\u00e9diter sur la condition humaine et son rapport \u00e0 l\u2019intelligence artificielle. La voix \u00e0 nos oreilles (Dieu&nbsp;?) se transforme, elle devient masculine, et les probl\u00e9matiques de la surveillance, des \u00e9lites et des minorit\u00e9s rencontrent celle du genre.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-full\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"400\" height=\"533\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/PER-RiminiProto-4.jpg?resize=400%2C533&#038;ssl=1\" alt=\"\" class=\"wp-image-636\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/PER-RiminiProto-4.jpg?w=400&amp;ssl=1 400w, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/PER-RiminiProto-4.jpg?resize=225%2C300&amp;ssl=1 225w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\" \/><figcaption>L\u2019\u00e9tape finale&nbsp;: sur le toit duTh\u00e9\u00e2tre national de la Gr\u00e8ce du Nord. Photo&nbsp;: Zo\u00e9 Ververopoulou<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Nous quittons progressivement l\u2019\u00e9glise, divis\u00e9s en trois sous-groupes. Quelques instants apr\u00e8s, notre parcours s\u2019ach\u00e8ve de mani\u00e8re spectaculaire sur le toit du Th\u00e9\u00e2tre national de la Gr\u00e8ce du Nord, d\u2019o\u00f9 nous admirons la vue panoramique de la ville au moment du coucher du soleil. Mais, enfin, \u00e0 quoi exactement avons-nous particip\u00e9&nbsp;? C\u2019\u00e9tait un jeu immersif, un atelier de d\u00e9couverte urbaine ou une all\u00e9gorie&nbsp;sur ce qui constitue l\u2019humanit\u00e9 de l\u2019homme&nbsp;? Une performance sensori-motrice et multimodale ou une exp\u00e9rimentation d\u2019anthropologie sociale&nbsp;?<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Peut-\u00eatre tout \u00e7a \u00e0 la fois. Peut-\u00eatre juste une \u00e9tude de recherche sur la fascinante th\u00e9\u00e2tralit\u00e9 de l\u2019existence.<a name=\"end\">\u00a0<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<figure class=\"wp-block-image size-full alignnone\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/ververopoulou2-150x150-1.jpg?resize=150%2C150&#038;ssl=1\" alt=\"\" class=\"wp-image-701\"\/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"end\" href=\"#back\">*<\/a><strong>Zo\u00e9 Ververopoulou<\/strong> : Docteure en \u00e9tudes th\u00e9\u00e2trales, Professeure adjointe au D\u00e9partement de Journalisme et de Communication (Universit\u00e9 Aristote, Thessalonique, Gr\u00e8ce) et critique dramatique. Ses recherches portent notamment sur&nbsp;: la th\u00e9orie du th\u00e9\u00e2tre, la critique dramatique, le journalisme culturel, le th\u00e9\u00e2tre documentaire, les rapports du th\u00e9\u00e2tre avec les m\u00e9dias et les pratiques journalistiques.<\/p>\n\n\n\n<p class=\"has-text-align-center has-small-font-size wp-block-paragraph\">Copyright <strong>\u00a9<\/strong> 2021 Zo\u00e9 Ververopoulou<br><em>Critical Stages\/Sc\u00e8nes critiques<\/em> e-ISSN: 2409-7411<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><a href=\"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/\" target=\"_blank\" rel=\"noreferrer noopener\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/wp-content\/uploads\/2021\/03\/88x31.png?w=800&#038;ssl=1\" alt=\"Creative Commons Attribution International License\"\/><\/a><\/figure><\/div>\n\n\n\n<p class=\"has-text-align-center has-small-font-size wp-block-paragraph\">This work is licensed under the<br>Creative Commons Attribution International License CC BY-NC-ND 4.0.<\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":638,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_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":[6],"tags":[],"class_list":["post-635","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-performance-reviews"],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/PER-RiminiProto-2.jpg?fit=800%2C533&ssl=1","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":172,"url":"https:\/\/www.critical-stages.org\/24\/ion-caramitru-un-acteur-plus-quacteur\/","url_meta":{"origin":635,"position":0},"title":"Ion Caramitru, un acteur plus qu\u2019acteur","author":"Zo\u00e9 Ververopoulou","date":"October 26, 2021","format":false,"excerpt":"Georges Banu* Ion Caramitru a disparu violemment au d\u00e9but de l\u2019automne et cela fut ressenti comme un s\u00e9isme pour la vie th\u00e9\u00e2trale roumaine. Caramitru repr\u00e9sente cette figure rare d\u2019un \u00ab\u00a0acteur plus qu\u2019acteur\u00a0\u00bb car s\u2019il a brill\u00e9 dans de r\u00f4les titres devenus historiques il s\u2019est impliqu\u00e9 et a agi sur le\u2026","rel":"","context":"In &quot;In Memoriam&quot;","block_context":{"text":"In Memoriam","link":"https:\/\/www.critical-stages.org\/24\/category\/in-memoriam\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/Caramitru-in-Hamlet.jpg?fit=800%2C582&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/Caramitru-in-Hamlet.jpg?fit=800%2C582&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/Caramitru-in-Hamlet.jpg?fit=800%2C582&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/Caramitru-in-Hamlet.jpg?fit=800%2C582&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":360,"url":"https:\/\/www.critical-stages.org\/24\/migrating-shakespeare-first-european-encounters-routes-and-networks\/","url_meta":{"origin":635,"position":1},"title":"Migrating Shakespeare: First European Encounters, Routes and Networks","author":"Zo\u00e9 Ververopoulou","date":"November 27, 2021","format":false,"excerpt":"Edited by Janet Clare and Dominique Goy-Blanquet\u00a0293p.+ xiv.\u00a0 Bloomsbury (The Arden Shakespeare Series) Reviewed by Philippe Rouyer*(Ed. Note: Published in English. Reviewed in French) Ce livre est publi\u00e9 en anglais\u00a0; il n\u2019y a pas pour l\u2019instant de traduction pr\u00e9vue. Il rassemble onze articles et une introduction de 27 pages par\u2026","rel":"","context":"In &quot;Book Reviews&quot;","block_context":{"text":"Book Reviews","link":"https:\/\/www.critical-stages.org\/24\/category\/book-reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/11\/Rouyer-150x150-1.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":658,"url":"https:\/\/www.critical-stages.org\/24\/choc-de-cultures-entre-loccident-et-le-tiers-monde\/","url_meta":{"origin":635,"position":2},"title":"Choc de cultures entre l\u2019Occident et le tiers-monde","author":"Zo\u00e9 Ververopoulou","date":"December 18, 2021","format":false,"excerpt":"Michel Va\u00efs* Nassara.Pi\u00e8ce de Carole Fr\u00e9chette, mise en sc\u00e8ne\u00a0: Sophie Cadieux. Interpr\u00e8tes\u00a0: Marie-Th\u00e9r\u00e8se Fortin (Marie-Odile Desnoyers), Stephie Mazunya (la Narratrice) et Moussa Sidib\u00e9 (Ali). Sc\u00e9nographie\u00a0:\u00a0Max-Otto Fauteux. Coproduction du Centre du Th\u00e9\u00e2tre d\u2019Aujourd\u2019hui (CTD\u2019A, Montr\u00e9al) et de R\u00e9cr\u00e9\u00e2trales (Ouagadougou), cr\u00e9\u00e9e au CTD\u2019A le 8 septembre 2021. Note\u00a0: L\u2019acteur burkinab\u00e8 Moussa Sidib\u00e9\u2026","rel":"","context":"In &quot;Performance Reviews&quot;","block_context":{"text":"Performance Reviews","link":"https:\/\/www.critical-stages.org\/24\/category\/performance-reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/PER-Nassara-3.jpeg?fit=800%2C533&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/PER-Nassara-3.jpeg?fit=800%2C533&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/PER-Nassara-3.jpeg?fit=800%2C533&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/PER-Nassara-3.jpeg?fit=800%2C533&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":719,"url":"https:\/\/www.critical-stages.org\/24\/franchised-recycled-performance-as-a-theatre-of-ecology\/","url_meta":{"origin":635,"position":3},"title":"Franchised\/Recycled Performance as a Theatre of Ecology","author":"Zo\u00e9 Ververopoulou","date":"December 21, 2021","format":false,"excerpt":"Ivan Medenica* Abstract There could be different manifestations of a \u201ctheatre of ecology\u201d: from new versions of a so-called poor theatre with the use of reduced and\/or recycled materials, including set design, props and costumes, to the concept of an eco-dramaturgy with stories that are not centred only on human\u2026","rel":"","context":"In &quot;Conference Papers&quot;","block_context":{"text":"Conference Papers","link":"https:\/\/www.critical-stages.org\/24\/category\/conference-papers\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/image6-1.jpeg?fit=800%2C533&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/image6-1.jpeg?fit=800%2C533&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/image6-1.jpeg?fit=800%2C533&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/image6-1.jpeg?fit=800%2C533&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":99,"url":"https:\/\/www.critical-stages.org\/24\/sculpting-china-critical-puppetry-and-the-formation-of-diasporic-identity-in-chang-and-eng-and-me-and-me\/","url_meta":{"origin":635,"position":4},"title":"Sculpting China: Critical Puppetry and the Formation of Diasporic Identity in Chang and Eng and Me (and Me)","author":"Zo\u00e9 Ververopoulou","date":"October 29, 2021","format":false,"excerpt":"Tobi Poster-Su* Abstract In my short, filmed puppetry performance Chang and Eng and Me (and Me) (2021), the audience witness the construction, manipulation and destruction of figures representing the Siamese-Chinese conjoined twins Chang and Eng Bunker. These processes mirror the formations and transformations of identities that Chang and Eng underwent\u2026","rel":"","context":"In &quot;Essays&quot;","block_context":{"text":"Essays","link":"https:\/\/www.critical-stages.org\/24\/category\/essays\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image3-1.jpg?fit=800%2C450&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image3-1.jpg?fit=800%2C450&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image3-1.jpg?fit=800%2C450&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image3-1.jpg?fit=800%2C450&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":711,"url":"https:\/\/www.critical-stages.org\/24\/phenomena-of-recycling-in-the-context-of-the-current-independent-scene-in-slovakia\/","url_meta":{"origin":635,"position":5},"title":"Phenomena of Recycling in the Context of the Current Independent Scene in Slovakia","author":"Zo\u00e9 Ververopoulou","date":"December 18, 2021","format":false,"excerpt":"Miroslav Ballay* Abstract The present study explores areas of contemporary independent theatre culture in Slovakia. It maps out a range of phenomena which are drawn from current theatre practice and offers several interpretive probes into selected stage and performative works. The theme of recycling is foregrounded in various contexts of\u2026","rel":"","context":"In &quot;Conference Papers&quot;","block_context":{"text":"Conference Papers","link":"https:\/\/www.critical-stages.org\/24\/category\/conference-papers\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/image4-1.jpg?fit=800%2C533&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/image4-1.jpg?fit=800%2C533&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/image4-1.jpg?fit=800%2C533&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/image4-1.jpg?fit=800%2C533&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/posts\/635","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/types\/post"}],"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=635"}],"version-history":[{"count":4,"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/posts\/635\/revisions"}],"predecessor-version":[{"id":747,"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/posts\/635\/revisions\/747"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/media\/638"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/media?parent=635"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/categories?post=635"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/tags?post=635"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}