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Critical Stages/Scènes critiques

The IATC journal/Revue de l'AICT – June/Juin 2023: Issue No 27

Special Topic
Essays
National Reports
Critics on Criticism
Interviews
Performance Reviews
Book Reviews
In Memoriam

Renegotiating the Canon: Scenes of German/ic Theatre(s) – Editors’ Note

Renegotiating the Canon: Scenes of German/ic Theatre(s) – Editors’ Note

Azadeh Sharifi and Ulf Otto

Theatre as Weapon of War: German Language Theatres Across Occupied Europe During WWII

Theatre as Weapon of War: German Language Theatres Across Occupied Europe During WWII

Anselm Heinrich

An Archive of Migration: The Ballhaus Naunynstraße in the 1980s

An Archive of Migration: The Ballhaus Naunynstraße in the 1980s

Ela Gezen and Olivia Landry

The Brecht-brand and German Theatre in South Korea

Jan Creutzenberg

If You Had Only Spoken . . . Counter-narratives and Marginalized Histories of Women on the German Stage in Romania Before and After 1989

If You Had Only Spoken . . . Counter-narratives and Marginalized Histories of Women on the German Stage in Romania Before and After 1989

Cristina Modreanu

Who Belongs to the “Freie Szene”? Or How Does Contemporaneity Become a Criterion for Exclusion

Who Belongs to the “Freie Szene”? Or How Does Contemporaneity Become a Criterion for Exclusion

Alexandra Portmann

Socialist Past, Postmigrant Present: Renegotiating the Canon at the Maxim Gorki Theater Berlin

Socialist Past, Postmigrant Present: Renegotiating the Canon at the Maxim Gorki Theater Berlin

Hans Roth

Le <em>Theatertreffen</em> aujourd’hui : un mécanisme de consécration théâtrale entre logiques nationales et transnationales

Le Theatertreffen aujourd’hui : un mécanisme de consécration théâtrale entre logiques nationales et transnationales

Corentin Jan

A Feminist Rewriting of Kleist? Öziri’and Nübling’s <em>Die Verlobung in St. Domingo – Ein Widerspruch</em>

A Feminist Rewriting of Kleist? Öziri’and Nübling’s Die Verlobung in St. Domingo – Ein Widerspruch

Priscilla Layne

Embodied Ideologies: Staging Constructions of Economic and Domestic Worlds Within Marie Eugenie delle Grazie’s <em>Mutter</em>

Embodied Ideologies: Staging Constructions of Economic and Domestic Worlds Within Marie Eugenie delle Grazie’s Mutter

Greta Gebhard

New German Dramaturgy: Centering on the World

New German Dramaturgy: Centering on the World

Ivan Medenica

Who Belongs to the “Freie Szene”? Or How Does Contemporaneity Become a Criterion for Exclusion

Who Belongs to the “Freie Szene”? Or How Does Contemporaneity Become a Criterion for Exclusion

Alexandra Portmann

Theatre as Weapon of War: German Language Theatres Across Occupied Europe During WWII

Theatre as Weapon of War: German Language Theatres Across Occupied Europe During WWII

Anselm Heinrich

New German Dramaturgy: Centering on the World

New German Dramaturgy: Centering on the World

Ivan Medenica

The Brecht-brand and German Theatre in South Korea

Jan Creutzenberg

Essays

Dramatising Traditional Rulers in the Cesspit of Treachery: Τhe Examples of Femi Osofisan’s <em>Farewell to a Cannibal Rage</em> and <em>Aringindin and the Nightwatchmen</em>

Dramatising Traditional Rulers in the Cesspit of Treachery: Τhe Examples of Femi Osofisan’s Farewell to a Cannibal Rage and Aringindin and the Nightwatchmen

Oyewumi Olatoye Agunbiade and Ayobami Kehinde

Looking Back to Look Forward—How Ancient Storytelling Traditions Can Shed Light on Contemporary Practices of Spectating

Looking Back to Look Forward—How Ancient Storytelling Traditions Can Shed Light on Contemporary Practices of Spectating

Elizabeth Swift

Opening Playwriting Workshops to Other Forms and Frameworks of Creative Logic: Challenges and Paradoxes in a Belgian Case

Opening Playwriting Workshops to Other Forms and Frameworks of Creative Logic: Challenges and Paradoxes in a Belgian Case

Élise Deschambre

COVID-19 and the Drive-in Theatre in Nigeria

COVID-19 and the Drive-in Theatre in Nigeria

Ngozi Udengwu and Godwin Onuche

The Body/theatre-in-Pain: (Im)possibility of Wellness in Lisa Kron’s <em>Well</em>

The Body/theatre-in-Pain: (Im)possibility of Wellness in Lisa Kron’s Well

Narges Montakhabi Bakhtvar

Teesri Duniya’s “Counter” Offence: Diasporic Theatre and Minority Representation in the Bill 96 Era

Teesri Duniya’s “Counter” Offence: Diasporic Theatre and Minority Representation in the Bill 96 Era

Shailee Rajak

National Reports

Stages of Resistance and Re-connections: Unfolding Story of a Third World Theatre Festival

Stages of Resistance and Re-connections: Unfolding Story of a Third World Theatre Festival

Renu Ramanath

Bitef 2016-2022: Seven Scenes Seen as Seven Sins

Bitef 2016-2022: Seven Scenes Seen as Seven Sins

Agata Juniku

The Flemish Wave Gets a Second Wind

The Flemish Wave Gets a Second Wind

David Willinger

Post-Covid Theatre in Greece: Recovering (?) From Successive Crises

Post-Covid Theatre in Greece: Recovering (?) From Successive Crises

Lina Rosi

A Critical Survey of Bangladesh Theatre

A Critical Survey of Bangladesh Theatre

Shafi Ahmed

Critics on Criticism

How Married is Medea?

How Married is Medea?

How Married is Medea?

Interviews

Traversing Diverse Terrains: Interview with Abhishek Majumdar

Traversing Diverse Terrains: Interview with Abhishek Majumdar

by Asha Kuthari Chaudhuri

The Ideology of an Objective Dramatist: Interview with Femi Osofisan

The Ideology of an Objective Dramatist: Interview with Femi Osofisan

by Oyewumi Olatoye Agunbiade

“I share female and queer diverse experience on stage through both artistic and political means.” Interview with Duygu Dalyanoğlu

“I share female and queer diverse experience on stage through both artistic and political means.” Interview with Duygu Dalyanoğlu

by Eylem Ejder

From Being a Craftsman to Being an Artist: Interview with Cengiz Özek

From Being a Craftsman to Being an Artist: Interview with Cengiz Özek

by Mehmet Özbek

Quand écrire pour le théâtre, c’est assembler des matériaux disparates. Entretien avec Sarah Berthiaume

Quand écrire pour le théâtre, c’est assembler des matériaux disparates. Entretien avec Sarah Berthiaume

par Hervé Guay

Transmitting Knowledge and Technique: Interview with Thomas Richards

Transmitting Knowledge and Technique: Interview with Thomas Richards

by Steve Capra

Theatre is Like a Vintage Music Box: Old and Fashionable at the Same Time – Interview with Silvia Ghilas

Theatre is Like a Vintage Music Box: Old and Fashionable at the Same Time – Interview with Silvia Ghilas

by Savas Patsalidis

Le Théâtre de la Nuit : Entretien avec Dimitris Dimitriadis

Le Théâtre de la Nuit : Entretien avec Dimitris Dimitriadis

par Kalliopi Exarchou

“I like to go backwards in order to push myself forward.” Interview with Sara Barros Leitão

“I like to go backwards in order to push myself forward.” Interview with Sara Barros Leitão

by Beatriz Catarino

“I try to sense the ‘pulse of time’”: Interview with Yordan Slaveykov

“I try to sense the ‘pulse of time’”: Interview with Yordan Slaveykov

by Kamelia Nikolova

Performance Reviews

Simon Stone’s Phaedra: Visceral, Immediate and Intensely Convincing
Festival de théâtre d’Asie centrale : valeurs traditionnelles et / ou « nouvelles formes »
Talking Back
Rothko’s Tears (And a Question on Originality)
Abhorrent yet Admirable Icons of a Small Nation
Bare Bodies: Mirroring Pain on Stage
Tangibly Transcendental
John Malkovich Explores Two Levels of a Koltès Character
Kyoto Experiment: Re-thinking the Festival as a Constant Work-in-Progress
Javor Gardev’s Productions in the Bulgarian Repertoire

Simon Stone’s <em>Phaedra</em>: Visceral, Immediate and Intensely Convincing

Simon Stone’s <em>Phaedra</em>: Visceral, Immediate and Intensely Convincing

Festival de théâtre d’Asie centrale : valeurs traditionnelles et / ou « nouvelles formes »

Festival de théâtre d’Asie centrale : valeurs traditionnelles et / ou « nouvelles formes »

Rothko’s Tears (And a Question on Originality)

Rothko’s Tears (And a Question on Originality)

Abhorrent yet Admirable Icons of a Small Nation

Abhorrent yet Admirable Icons of a Small Nation

Bare Bodies: Mirroring Pain on Stage

Bare Bodies: Mirroring Pain on Stage

Tangibly Transcendental

Tangibly Transcendental

John Malkovich Explores Two Levels of a Koltès Character

John Malkovich Explores Two Levels of a Koltès Character

Kyoto Experiment: Re-thinking the Festival as a Constant Work-in-Progress

Kyoto Experiment: Re-thinking the Festival as a Constant Work-in-Progress

Javor Gardev’s Productions in the Bulgarian Repertoire

Javor Gardev’s Productions in the Bulgarian Repertoire

Book Reviews

It’s Not Your Fault: Five New Plays on Sexual Harassment in Egypt

It’s Not Your Fault: Five New Plays on Sexual Harassment in Egypt

Shakespeare Was a Woman and Other Heresies

Shakespeare Was a Woman and Other Heresies

Frictions

Frictions

In Memoriam

Georges Banu, the Great Storyteller of World Theatre

Georges Banu, the Great Storyteller of World Theatre

Maria Zărnescu

Hans-Thies Lehmann (1944-2022) <em>in memoriam</em>

Hans-Thies Lehmann (1944-2022) in memoriam

Patrice Pavis

Table of Contents

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CS/Sc Issue No 27 Section Editors & Editorial Board

Section Editors: Bios
Editorial Board

Editorial Note

Editorial Note | Note éditoriale

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Call for Papers & Essays

Issue #28: Post-millennial Australasian Dramaturgy

Issue #29: Dance Between Now-ness and Future

Issue #30: Rehearsals for Decarceral Futures: Indigenous Theatre About Criminalization and Prison Abolition

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