{"id":652,"date":"2022-06-18T08:25:27","date_gmt":"2022-06-18T08:25:27","guid":{"rendered":"https:\/\/www.critical-stages.org\/25\/?page_id=652"},"modified":"2022-12-18T09:21:07","modified_gmt":"2022-12-18T09:21:07","slug":"table-of-contents","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/25\/table-of-contents\/","title":{"rendered":"Table of Contents"},"content":{"rendered":"\n

Editorial Note: The Tragedy of our Life and Our Refusal to Learn<\/a>
Note \u00e9ditoriale : La trag\u00e9die de notre vie et notre refus d\u2019apprendre<\/a>
Savas Patsalidis<\/a>, Editor-in-Chief<\/p>\n\n\n\n

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

Guest Editor: Sebastian X Samur<\/a> (Canada)<\/p>\n\n\n\n

Human-Technology Interfacing in Performance: Editor\u2019s Introduction<\/a>
Sebastian X Samur<\/p>\n\n\n\n

A Simple Tool for Remote Real-Time Dance Interaction in Virtual Spaces, Or \u201cDancing in the Metaverse\u201d<\/a>
Dan Strutt<\/p>\n\n\n\n

\u201cBut How Will They Know It\u2019s Live?\u201d: Anonymous Ensemble\u2019s Digital Performances<\/a>
Jessica Del Vecchio and Eamonn Farrell<\/p>\n\n\n\n

Identification et performativit\u00e9 technologique dans Autour du Rose enfer des animaux<\/a>
Thomas Langlois et Robert Faguy<\/p>\n\n\n\n

Parascopic Media: Platformizing Performance with 3D, Dentistry, and Drag<\/a>
Brendan McCauley<\/p>\n\n\n\n

The Intermedial Kingdom of Bodies: A Narratological Analysis of the Live-Animated-Avatar Performance The Kingdom of Shadows<\/em><\/a>
Maya Arad Yasur<\/p>\n\n\n\n

Expanding Sound Design in Performing Arts<\/a>
Kent Olofsson<\/p>\n\n\n\n

Reflections on Place in Telematic Performances<\/a>
J\u00f6rgen Dahlqvist<\/p>\n\n\n\n

PLAYStrong\u2013Engineering POETICstates:On Facilitating Mental Health through Bio-Signal Interfaces and Brechtian Learning Strategies<\/a>
Antje Budde and Gustavo Sol<\/p>\n\n\n\n

Reimagining Light, Technology and Spectatorship in Contemporary Theatre<\/a>
Amy Chan and Natalie Cheung<\/p>\n\n\n\n

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

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

\u201cSpeechless Complainer\u201d<\/em>: (Un)natural Violence in Dominic Walsh\u2019s Titus Andronicus<\/em><\/a>
Ilana Gilovich-Wave<\/p>\n\n\n\n

Jelinek\u2019s Sports Play as Satirical Polemic<\/a>
Cyrus Lane<\/p>\n\n\n\n

Public Spaces, Public Words: Towards the Making of a Pro-Localist Theatre in the Newham Plays<\/a>
James Kenworth<\/p>\n\n\n\n

Mi Cuerpo Mi Casa<\/em>\/My Body My House- Negotiating the Spaces of Home and the Body in Mexico and Galway Through Co-creation and Digital Performance<\/a>
Maria Tivnan<\/p>\n\n\n\n

Simone Weil: Performance Through Nothingness<\/a>
Tyrone Grima<\/p>\n\n\n\n

Elli Papakonstantinou: Oedipal Landscapes on the Digital and the Physical Stage<\/a>
Lina Rosi<\/p>\n\n\n\n

New Medium Theatre Experiments in Kolkata During COVID-19 Lockdowns<\/a>
Hazael Gomes<\/p>\n\n\n\n

Rebels and Revels: Exhibit Curation as Pedagogy in the Study of Theatre of the Middle East<\/a>
Marjan Moosavi, Q-mars Haeri, Kelley Holley<\/p>\n\n\n\n

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

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

Facing the Fire: Australian People, Places, and Crises in the Works of Campion Decent<\/a>
Carla Rocavert<\/p>\n\n\n\n

Prophecy or Cautionary Tales? Australian Climate Gothic Drama and Mutating Climate-Scapes<\/a>
Linda Hassall<\/p>\n\n\n\n

Iraqi Theatre: A Niche in an Ecologically Political Sane Milie<\/a>
Majeed Mohammed Midhin and Suad Qahtan Hussein<\/p>\n\n\n\n

What Will Be Left After Us? The Rise \u03bff Ecotheatre in Latvia in Times of the Pandemic<\/a>
Kitija Balcare<\/p>\n\n\n\n

Autour de l\u2019\u00e9cologie de la langue : les obsc\u00e9nit\u00e9s sur la sc\u00e8ne th\u00e9\u00e2trale<\/a>
Irina Antonova<\/p>\n\n\n\n

The Romanian Theatre of the Last Thirty Years or the Theatre of Paradigm Shift<\/a>
Oana Bor\u0219<\/p>\n\n\n\n

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

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

Rediscovering and Reinventing the Community<\/a>
Andrea Porcheddu<\/p>\n\n\n\n

The Cry of the Ear<\/a>
Johannes Birringer<\/p>\n\n\n\n

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

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

Theatre for Humility Toward Otherness: Spirituality, Prayer and Hope: Interview with Satoshi Miyagi<\/a>
by Tomoka Tsukamoto and Ted Motohashi<\/p>\n\n\n\n

\u201cWe adapt to the changes unfolding in today\u2019s world\u201d: Interview with Sarantuya Sambuu<\/a>
by Savas Patsalidis<\/p>\n\n\n\n

\u201cNow is the time for untold, suppressed stories to be heard\u201d: Interview with Handan Salta<\/a>
by Savas Patsalidis<\/p>\n\n\n\n

Creole Time, Creative Time: Interview with Brazilian Artist Diego Ara\u00faja<\/a>
by Daniele Avila Small and Lorenna Rocha<\/p>\n\n\n\n

Cognition Theatre: Interview with Valters S\u012blis<\/a>
by Lauma Mell\u0113na-Bartkevi\u010da<\/p>\n\n\n\n

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

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

Transborder and Transdisciplinary Works in the Island State of Singapore<\/a>
Pawit Mahasarinand<\/p>\n\n\n\n

Being there in Person<\/a>
Yun-Cheol Kim<\/p>\n\n\n\n

The Anniversary of a Multicultural Outpost in Northern Romania<\/a>
Maria Z\u0103rnescu<\/p>\n\n\n\n

Directing von Horv\u00e1th: Casimir and Caroline<\/em> on the Romanian Stage<\/a>
Zafiris Nikitas<\/p>\n\n\n\n

Un G8 culturel \u00e0 G\u00eanes<\/a>
Jean-Pierre Han<\/p>\n\n\n\n

A Poetic Glass<\/em> Menagerie <\/em>Buried under the Ground<\/a>
Grigorios Ioannidis<\/p>\n\n\n\n

Avignon 2021 : Liddell, Vandalem, Gu\u00e9don \u2013 Trois mani\u00e8res de faire du th\u00e9\u00e2tre<\/a>
Selim Lander<\/p>\n\n\n\n

Finland Pursues Trendy Sexual Identities<\/a>
Matti Linnavuori<\/p>\n\n\n\n

Ottawa: a Subversive Cabaret of Identity Politics<\/a>
Alvina Ruprecht<\/p>\n\n\n\n

Invitation to Dimitri Papaioannou\u2019s Cosmos of Make-Believe<\/a>
Paraskevi Tektonidou<\/p>\n\n\n\n

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

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

The Theatre of Sa\u2019dallah Wannous: A Critical Study of the Syrian Playwright and Public Intellectual<\/a>
Jonathan H. Shannon<\/p>\n\n\n\n

A History of East African Theatre: Vol. I: Horn of Africa<\/a>
Don Rubin<\/p>\n\n\n\n

Terzopoulos Tribute Delphi<\/a>
Maria Ristani<\/p>\n\n\n\n

Dramaturgy of Form: Performing Verse in Contemporary Theatre<\/a>
Patricia Keeney<\/p>\n\n\n\n

Affair of the Heart: British Theatre from 1992-2020<\/a>
Chris Jones<\/p>\n\n\n\n

Focus: Ukraine<\/strong> I<\/h5>\n\n\n\n

Editors: Critical Stages<\/p>\n\n\n\n

Cultural Thaw in a Zone of War<\/a>
Jeffrey Eric Jenkins<\/p>\n\n\n\n

Contemporary “Suppliants” and the Loss of Tragic Sensibility<\/a>
Savas Patsalidis<\/p>\n\n\n\n

Belarus and Ukraine: No Longer Russia\u2019s Hinterlands<\/a>
John Freedman<\/p>\n\n\n\n

\u201cArt is not an escape; it is a statement of life.\u201d Interview with Alex Borovenskiy<\/a>
by Yana Meerzon<\/p>\n\n\n\n

\u201cStalin died but not completely\u201d: Dialogue with Artur Solomonov*<\/a>
Yana Meerzon<\/p>\n\n\n\n

Focus: Ukraine<\/strong> II<\/h5>\n\n\n\n

Guest Editor: Kasia Lech<\/a> (Poland\/England)<\/p>\n\n\n\n

Ukraine Theatre: Pasts, Presents, and Futures<\/a>
Kasia Lech<\/p>\n\n\n\n

Theatre as a \u0397umanitarian Mission: Ukraine`s Experience 2022<\/a>
Maiia Harbuziuk<\/p>\n\n\n\n

Anima Art for Peace from Kharkiv, the City of Freedom<\/a>
Julia Bili\u0144ska<\/p>\n\n\n\n

\u0406\u0441\u0442\u043e\u0440\u0456\u044f \u0423\u043a\u0440\u0430\u0457\u043d\u0438 \/ Historia Ukrainy \/ History of Ukraine<\/a>
Sofiia Onishchenko, Daria Bohdan, Vasylyna Martseniuk<\/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-652","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack_likes_enabled":false,"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/25\/wp-json\/wp\/v2\/pages\/652","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/25\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/25\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/25\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/25\/wp-json\/wp\/v2\/comments?post=652"}],"version-history":[{"count":19,"href":"https:\/\/www.critical-stages.org\/25\/wp-json\/wp\/v2\/pages\/652\/revisions"}],"predecessor-version":[{"id":960,"href":"https:\/\/www.critical-stages.org\/25\/wp-json\/wp\/v2\/pages\/652\/revisions\/960"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/25\/wp-json\/wp\/v2\/media?parent=652"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}