{"id":987,"date":"2022-12-18T09:30:37","date_gmt":"2022-12-18T09:30:37","guid":{"rendered":"https:\/\/www.critical-stages.org\/26\/?page_id=987"},"modified":"2023-01-06T12:55:30","modified_gmt":"2023-01-06T12:55:30","slug":"table-of-contents","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/26\/table-of-contents\/","title":{"rendered":"Table of Contents"},"content":{"rendered":"\n

Editorial Note: Transforming (Im)Possibilities to Realities<\/a>
Note \u00e9ditoriale : Transformer les (im)possibilit\u00e9s en r\u00e9alit\u00e9s<\/a>
Savas Patsalidis<\/a>, Editor-in-Chief<\/p>\n\n\n\n

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

On Theatre and Ecology at Critical Junctions<\/em><\/strong><\/p>\n\n\n\n

Guest Editors: Vicky Angelaki<\/a> and Elizabeth Sakellaridou<\/a> (Greece)<\/p>\n\n\n\n

On Theatre and Ecology at Critical Junctions: Editors\u2019 Introduction<\/a>
Vicky Angelaki and Elizabeth Sakellaridou<\/p>\n\n\n\n

Theatre, Ecology and the Secret Life of Naturalism<\/a>
Andrew Burton<\/p>\n\n\n\n

Hanging in \u03a4here\u2014Theatre Under the Sal Trees<\/a>
Asha Kuthari Chaudhuri<\/p>\n\n\n\n

Human Achievements and Transgressions of the Natural Order in Greek Drama: The Literary Ancient Roots of a Real Current Crisis<\/a>
Kaiti (Aikaterini) Diamantakou<\/p>\n\n\n\n

The Kinnari Ecological Theatre Project in Southeast Asia<\/a>
Catherine Diamond<\/p>\n\n\n\n

Reassessing the Roles and Values of Art Documentation in the Context of Environmental Practice<\/a>
Gabriella Giannachi<\/p>\n\n\n\n

Gary Owen\u2019s Iphigenia in Splott<\/em>: The Anthropocene as Tragedy<\/a>
Stef Kerrigan<\/p>\n\n\n\n

Doppelgangster\u2019s Everybody Loses<\/em>: A Dramaturgy for Extinction<\/a>
Tobias Manderson-Galvin, Tom Payne<\/p>\n\n\n\n

Bodies of Corn, Maguey and Water: Performing Latin American Environmentalisms<\/a>
Ana Mart\u00ednez<\/p>\n\n\n\n

Ecodramaturgy and the Genesis of the EMOS Ecodrama Festival<\/a>
Theresa May<\/p>\n\n\n\n

Rasa as an Ecologically Sustainable Aesthetic Theory<\/a>
Erin B. Mee<\/p>\n\n\n\n

\u201cMundane\u201d Performance: Theatre Outdoors and Earthly Pleasures<\/a>
Evelyn O\u2019Malley, Cathy Turner, Giselle Garcia<\/p>\n\n\n\n

Ecology and the Ethical Milieu<\/em>: A Levinasian Ecological Reading of Joe White\u2019s Mayfly<\/em><\/a>
Martin Riedelsheimer<\/p>\n\n\n\n

Global Networked Ecoscenography: Creating Sustainable Worlds for Theatre Through International Collaboration<\/a>
Tessa Rixon, Ian Garrett, Tanja Beer<\/p>\n\n\n\n

My Green Shakespeares<\/a>
Maggie Rose<\/p>\n\n\n\n

Sink or Swim: Performing the Iniquities of the Climate Crisis<\/a>
Lara Stevens<\/p>\n\n\n\n

Gender, Ecology, and Theatre of Catastrophe: The Apocalyptic Vision and the Deconstruction of Western Modernity in Satoshi Miyagi\u2019s Demon Lake<\/em><\/a>
Tomoka Tsukamoto, Ted Motohashi<\/p>\n\n\n\n

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

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

Performing Solidarity: 50 Years of Jana Natya Manch<\/a>
Aparna Mahiyaria<\/p>\n\n\n\n

Marginalisation, pollution et migration dans la pi\u00e8ce \u00c0 la p\u00e9riph\u00e9rie<\/em> de Sedef Ecer : d\u00e9fis et perspectives du questionnement \u00e9cologique<\/a>
Christina A. Oikonomopoulou<\/p>\n\n\n\n

\u201cI Keep Thinking My Way to Ness\u201d: Emplacement(s) on the Anglian Coast<\/a>
Milo Harries<\/p>\n\n\n\n

Rapture: A Study in Pathos and Scenography<\/a>
Anna Cordingley<\/p>\n\n\n\n

Looking into the Ecological Footprints of Michail Marmarinos\u2019s Trackers<\/em> by Sophocles<\/a>
Vicky Manteli<\/p>\n\n\n\n

Wait Until Dark<\/em>: \u0391 Study on the Theme of Fear in Theatre<\/a>
Tyrone Grima<\/p>\n\n\n\n

The Seven Principles of Leave No Trace Dramaturgy<\/a>
Katalin Trencs\u00e9nyi<\/p>\n\n\n\n

Resituating the Writer\u2019s Workshop: Collective Strategies for Playwriting Pedagogy<\/a>
Karen Morash<\/p>\n\n\n\n

2021 Space Olympics: Towards a Science Fiction Dramaturgy<\/a>
Sanja Vodovnik<\/p>\n\n\n\n

Walking Towards a Post-theatrical Experience: Online Mediation and Digital Immediacy in Pandemic Performance<\/a>
Octavian Saiu<\/p>\n\n\n\n

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

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

Digital Theatre Experiments in Latvia: The Case of Audio Productions<\/a>
Ieva Rodi\u0146a<\/p>\n\n\n\n

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

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

Climate Crisis Theatre by Youth for Adults: Interview with Kristina Watt Villegas<\/a>
by Matthew Venner<\/p>\n\n\n\n

Theatre Regenerates itself Constantly, and Even More so in Periods of Crises: Interview with Barbara Regondi<\/a>
by Savas Patsalidis<\/p>\n\n\n\n

\u201cMy job is to help create a process so that we can deliver the product as a team\u201d:  Interview with Ken Cerniglia<\/a>
by Steve Capra<\/p>\n\n\n\n

Showing Without Going: Interview with Ant Hampton<\/a>
Maria Ristani<\/p>\n\n\n\n

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

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

Canada\u2019s Shaw Festival Has Become a Showcase for African-American Playwrights<\/a>
Martin Morrow<\/p>\n\n\n\n

The Horseman Rides On<\/a>
Patricia Keeney<\/p>\n\n\n\n

Symbolic Animals as Characters at Uzo-iyi Festival, Umuoji<\/a>
Ngozi Udengwu and Ikechukwu Erojikwe<\/p>\n\n\n\n

Erinnerung Redux<\/em> : M\u00e9andre m\u00e9moriel du port et critique post-coloniale<\/a>
John Yves Pinder<\/p>\n\n\n\n

BITEF Provokes Issues on Ecology, Jobs, Women<\/a>
Yun-Cheol Kim<\/p>\n\n\n\n

Intimacy as Offering<\/a>
Tina Peri\u0107<\/p>\n\n\n\n

Alcestis\u2019s Drying Rack, or How to Live your Myth in Greece<\/a>
George Sampatakakis<\/p>\n\n\n\n

Choral Democracy in Persians<\/em> Re-read<\/a>
Antonia Tsamouris<\/p>\n\n\n\n

Ariane and Bluebeard<\/em>: West Edge Opera\u2019s Puzzle in a Dream<\/a>
Lissa Tyler Renaud<\/p>\n\n\n\n

A Greek Intermedial Hamlet Tortured by Memory<\/a>
Gilda Tentorio<\/p>\n\n\n\n

Comment se mettre dans la peau d\u2019un Juif quand on est Arabe \u00e0 J\u00e9rusalem ?<\/a>
Selim Lander<\/p>\n\n\n\n

FAME, un premier opus propice aux discussions<\/a>
Caroline Ch\u00e2telet<\/p>\n\n\n\n

Hedda\u2019s Hell<\/a>
Andrew Friedman<\/p>\n\n\n\n

No Experiments: Virgin Lab Fest Loses Steam<\/a>
Katrina Stuart Santiago<\/p>\n\n\n\n

Pilsen Remembers: A Mix of Dreams and Politics<\/a>
Matti Linnavuori<\/p>\n\n\n\n

Code Blue: The Politics of Melancholia<\/a>
Paraskevi Tektonidou<\/p>\n\n\n\n

Tartuffe<\/em> as a Debate About Family and Society Today<\/a>
Kamelia Nikolova<\/p>\n\n\n\n

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

Editor:\u00a0Don Rubin<\/a>\u00a0(Canada)<\/p>\n\n\n\n

The Schaub\u00fchne Berlin Under Thomas Ostermeier: Reinventing Realism<\/a>
Ivan Medenica<\/p>\n\n\n\n

Rehearsing Shakespeare: Ways of Approaching Shakespeare in Practice for Actors, Directors and Trainers<\/a>
Don Rubin<\/p>\n\n\n\n

Ph\u00e8dre, D\u2019Euripide \u00e0 Racine, de S\u00e9n\u00e8que \u00e0 Sarah Kane<\/a>
Alba Simina Stanciu<\/p>\n\n\n\n

A History of Romanian Theatre from Communism to Capitalism: Children of a Restless Time<\/a>
Jozefina Komporaly<\/p>\n\n\n\n

Antonin Artaud : \u00c9crits sur le th\u00e9\u00e2tre<\/a>
Selim Lander<\/p>\n\n\n\n

Plays<\/strong><\/h5>\n\n\n\n

Editor: Critical Stages\/Sc\u00e8nes critiques<\/p>\n\n\n\n

CRIME AlwaysArmUkraine<\/em><\/a>
Ester Bol<\/p>\n\n\n\n

On the Rightlessness for Compassion or How to Redeem an Unredeemable Guilt<\/a>
Yana Meerzon<\/p>\n\n\n\n

Town Hall<\/em><\/a>
Caridad Svich<\/p>\n\n\n\n

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

Editor: Critical Stages\/Sc\u00e8nes critiques<\/p>\n\n\n\n

Living in the War: the Ukrainian Theatre Since the Russian Invasion<\/a>
Hanna Veselovska<\/p>\n\n\n\n

Invading Ukraine, Declaring War Against Russian Culture<\/a>
Marina Davydova<\/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":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"footnotes":""},"class_list":["post-987","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/26\/wp-json\/wp\/v2\/pages\/987","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/26\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/26\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/26\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/26\/wp-json\/wp\/v2\/comments?post=987"}],"version-history":[{"count":14,"href":"https:\/\/www.critical-stages.org\/26\/wp-json\/wp\/v2\/pages\/987\/revisions"}],"predecessor-version":[{"id":1115,"href":"https:\/\/www.critical-stages.org\/26\/wp-json\/wp\/v2\/pages\/987\/revisions\/1115"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/26\/wp-json\/wp\/v2\/media?parent=987"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}