{"id":705,"date":"2023-06-11T09:01:50","date_gmt":"2023-06-11T09:01:50","guid":{"rendered":"https:\/\/www.critical-stages.org\/27\/?page_id=705"},"modified":"2023-07-28T18:54:02","modified_gmt":"2023-07-28T18:54:02","slug":"table-of-contents","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/27\/table-of-contents\/","title":{"rendered":"Table of Contents"},"content":{"rendered":"\n

Editorial Note: Renegotiating Traditions and Genres<\/a>
Note \u00e9ditoriale : Ren\u00e9gocier les traditions et les genres<\/a>
Savas Patsalidis<\/a>, Editor-in-Chief<\/p>\n\n\n\n

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

Renegotiating the Canon: Scenes of German\/ic Theatre(s)<\/em><\/strong><\/p>\n\n\n\n

Guest Editors: Azadeh Sharifi<\/a> and Ulf Otto<\/a><\/p>\n\n\n\n

Renegotiating the Canon: Scenes of German\/ic Theatre(s) \u2013 Editors\u2019 Note<\/a>
Azadeh Sharifi and Ulf Otto<\/p>\n\n\n\n

Theatre as Weapon of War: German Language Theatres Across Occupied Europe During WWII<\/a>
Anselm Heinrich<\/p>\n\n\n\n

An Archive of Migration: The Ballhaus Naunynstra\u00dfe in the 1980s<\/a>
Ela Gezen and Olivia Landry<\/p>\n\n\n\n

The Brecht-brand and German Theatre in South Korea<\/a>
Jan Creutzenberg<\/p>\n\n\n\n

If You Had Only Spoken . . . Counter-narratives and Marginalized Histories of Women on the German Stage in Romania Before and After 1989<\/a>
Cristina Modreanu<\/p>\n\n\n\n

Who Belongs to the \u201cFreie Szene\u201d? Or How Does Contemporaneity Become a Criterion for Exclusion<\/a>
Alexandra Portmann<\/p>\n\n\n\n

Socialist Past, Postmigrant Present: Renegotiating the Canon at the Maxim Gorki Theater Berlin<\/a>
Hans Roth<\/p>\n\n\n\n

Le Theatertreffen<\/em> aujourd\u2019hui : un m\u00e9canisme de cons\u00e9cration th\u00e9\u00e2trale entre logiques nationales et transnationales<\/a>
Corentin Jan<\/p>\n\n\n\n

A Feminist Rewriting of Kleist? \u00d6ziri\u2019and N\u00fcbling\u2019s Die Verlobung in St. Domingo \u2013 Ein Widerspruch<\/em><\/a>
Priscilla Layne<\/p>\n\n\n\n

Embodied Ideologies: Staging Constructions of Economic and Domestic Worlds Within Marie Eugenie delle Grazie\u2019s Mutter<\/em><\/a>
Greta Gebhard<\/p>\n\n\n\n

New German Dramaturgy: Centering on the World<\/a>
Ivan Medenica<\/p>\n\n\n\n

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

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

Dramatising Traditional Rulers in the Cesspit of Treachery: \u03a4he Examples of Femi Osofisan\u2019s Farewell to a Cannibal Rage<\/em> and Aringindin and the Nightwatchmen<\/em><\/a>
Oyewumi Olatoye Agunbiade and Ayobami Kehinde<\/p>\n\n\n\n

Looking Back to Look Forward\u2014How Ancient Storytelling Traditions Can Shed Light on Contemporary Practices of Spectating<\/a>
Elizabeth Swift<\/p>\n\n\n\n

Opening Playwriting Workshops to Other Forms and Frameworks of Creative Logic: Challenges and Paradoxes in a Belgian Case<\/a>
\u00c9lise Deschambre<\/p>\n\n\n\n

COVID-19 and the Drive-in Theatre in Nigeria<\/a>
Ngozi Udengwu and Godwin Onuche<\/p>\n\n\n\n

The Body\/theatre-in-Pain: (Im)possibility of Wellness in Lisa Kron\u2019s Well<\/em><\/a>
Narges Montakhabi Bakhtvar<\/p>\n\n\n\n

Teesri Duniya\u2019s \u201cCounter\u201d Offence: Diasporic Theatre and Minority Representation in the Bill 96 Era<\/a>
Shailee Rajak<\/p>\n\n\n\n

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

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

Stages of Resistance and Re-connections: Unfolding Story of a Third World Theatre Festival<\/a>
Renu Ramanath<\/p>\n\n\n\n

Bitef 2016-2022: Seven Scenes Seen as Seven Sins<\/a>
Agata Juniku<\/p>\n\n\n\n

The Flemish Wave Gets a Second Wind<\/a>
David Willinger<\/p>\n\n\n\n

Post-Covid Theatre in Greece: Recovering (?) From Successive Crises<\/a>
Lina Rosi<\/p>\n\n\n\n

A Critical Survey of Bangladesh Theatre<\/a>
Shafi Ahmed<\/p>\n\n\n\n

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

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

How Married is Medea?<\/a>
J. Michael Walton<\/p>\n\n\n\n

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

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

Traversing Diverse Terrains: Interview with Abhishek Majumdar<\/a>
by Asha Kuthari Chaudhuri<\/p>\n\n\n\n

The Ideology of an Objective Dramatist: Interview with Femi Osofisan<\/a>
by Oyewumi Olatoye Agunbiade<\/p>\n\n\n\n

\u201cI share female and queer diverse experience on stage through both artistic and political means.\u201d Interview with Duygu Dalyano\u011flu<\/a>
by Eylem Ejder<\/p>\n\n\n\n

From Being a Craftsman to Being an Artist: Interview with Cengiz \u00d6zek<\/a>
by Mehmet \u00d6zbek<\/p>\n\n\n\n

Quand \u00e9crire pour le th\u00e9\u00e2tre, c\u2019est assembler des mat\u00e9riaux disparates. Entretien avec Sarah Berthiaume<\/a>
par Herv\u00e9 Guay<\/p>\n\n\n\n

Transmitting Knowledge and Technique: Interview with Thomas Richards<\/a>
by Steve Capra<\/p>\n\n\n\n

Theatre is Like a Vintage Music Box: Old and Fashionable at the Same Time \u2013 Interview with Silvia Ghilas<\/a>
by Savas Patsalidis<\/p>\n\n\n\n

Le Th\u00e9\u00e2tre de la Nuit : Entretien avec Dimitris Dimitriadis<\/a>
par Kalliopi Exarchou<\/p>\n\n\n\n

\u201cI like to go backwards in order to push myself forward.\u201d Interview with Sara Barros Leit\u00e3o<\/a>
by Beatriz Catarino<\/p>\n\n\n\n

\u201cI try to sense the \u2018pulse of time\u2019\u201d: Interview with Yordan Slaveykov<\/a>
by Kamelia Nikolova<\/p>\n\n\n\n

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

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

Kyoto Experiment: Re-thinking the Festival as a Constant Work-in-Progress<\/a>
Beri Juraic<\/p>\n\n\n\n

Festival de th\u00e9\u00e2tre d\u2019Asie centrale : valeurs traditionnelles et \/ ou \u00ab nouvelles formes \u00bb<\/a>
Irina Antonova<\/p>\n\n\n\n

John Malkovich Explores Two Levels of a Kolt\u00e8s Character<\/a>
Antonia Tsamouris<\/p>\n\n\n\n

Rothko\u2019s Tears (And a Question on Originality)<\/a>
Grigorios Ioannidis<\/p>\n\n\n\n

Abhorrent yet Admirable Icons of a Small Nation<\/a>
Matti Linnavuori<\/p>\n\n\n\n

Tangibly Transcendental<\/a>
Tina Peri\u0107<\/p>\n\n\n\n

Javor Gardev\u2019s Productions in the Bulgarian Repertoire<\/a>
Valleri Robinson<\/p>\n\n\n\n

Simon Stone\u2019s Phaedra<\/em>: Visceral, Immediate and Intensely Convincing<\/a>
George Rodosthenous<\/p>\n\n\n\n

Talking Back<\/a>
Patricia Keeney<\/p>\n\n\n\n

Bare Bodies: Mirroring Pain on Stage<\/a>
Steriani Tsintziloni<\/p>\n\n\n\n

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

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

It\u2019s Not Your Fault: Five New Plays on Sexual Harassment in Egypt<\/a>
Patricia Keeney<\/p>\n\n\n\n

Shakespeare Was a Woman and Other Heresies<\/a>
Don Rubin<\/p>\n\n\n\n

Frictions<\/a>
Selim Lander<\/p>\n\n\n\n

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

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

Georges Banu, the Great Storyteller of World Theatre<\/a>
Maria Z\u0103rnescu<\/p>\n\n\n\n

Hans-Thies Lehmann (1944-2022) in memoriam<\/em><\/a>
Patrice Pavis<\/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-705","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/27\/wp-json\/wp\/v2\/pages\/705","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/27\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/27\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/27\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/27\/wp-json\/wp\/v2\/comments?post=705"}],"version-history":[{"count":15,"href":"https:\/\/www.critical-stages.org\/27\/wp-json\/wp\/v2\/pages\/705\/revisions"}],"predecessor-version":[{"id":973,"href":"https:\/\/www.critical-stages.org\/27\/wp-json\/wp\/v2\/pages\/705\/revisions\/973"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/27\/wp-json\/wp\/v2\/media?parent=705"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}