{"id":936,"date":"2023-12-21T10:21:23","date_gmt":"2023-12-21T10:21:23","guid":{"rendered":"https:\/\/www.critical-stages.org\/28\/?page_id=936"},"modified":"2024-01-06T10:45:02","modified_gmt":"2024-01-06T10:45:02","slug":"table-of-contents","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/28\/table-of-contents\/","title":{"rendered":"Table of Contents"},"content":{"rendered":"\n

Editorial Note: Traversing the Globe on Theatre\u2019s Chariot<\/a><\/strong>
Note \u00e9ditoriale : Traverser le globe sur le char du th\u00e9\u00e2tre <\/a><\/strong>
Savas Patsalidis<\/a>, Editor-in-Chief<\/p>\n\n\n\n

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

Postmillennial Dramaturgies in Australia and Aotearoa\/New Zealand<\/em><\/strong><\/p>\n\n\n\n

Guest Editors: Kathryn Kelly<\/strong><\/a>, Julian Meyrick<\/a><\/strong>, Fiona Graham<\/strong><\/a>, Moana Nepia<\/strong><\/a> and Emily Coleman<\/strong><\/a> (Australia\/New Zealand)<\/p>\n\n\n\n

By Land and Sea: Wayfinding and Weaving Contemporary Australian and Aotearoa \/ New Zealand Dramaturgies \u2013 Editors\u2019 Note<\/a>
Kathryn Kelly, Julian Meyrick, Fiona Graham, Moana Nepia and Emily Coleman<\/p>\n\n\n\n

Australasian Dramaturgy and First Nation Cultural Dramaturgy: Looking Back Before We Go Forward<\/a>
Colleen Wall<\/p>\n\n\n\n

Research Methodologies for Dance and Cultural Dramaturgies in Contested Land<\/a>
Dalisa Pigram, Tia Reihana, and Rachael Swain<\/p>\n\n\n\n

From Haka to Haptics: Indigenous M\u0101ori and Intercultural Dramaturgies: Interviews with six Artists from Aotearoa\/New Zealand<\/a>
by Moana Nepia<\/p>\n\n\n\n

Humour is the Great Healer: Interview with David Geary (Taranaki M\u0101ori)<\/a>
by Moana Nepia, Fiona Graham and Kathryn Kelly<\/p>\n\n\n\n

Fluid Dramaturgy: Moana Nui<\/em> Spacing as Relational Performative Environment<\/a>
Dorita Hannah<\/p>\n\n\n\n

Untangling the Wind: Reflections on Black Medea<\/em> in Performance<\/a>
Rick Brayford, Tom Heath, Leah Pigram, Teejay Woods, Myeesha Reid and Julianna Thomas<\/p>\n\n\n\n

Dramaturgies of Climate Crisis<\/a>
Danielle Wyatt and Jasmin Pfefferkorn<\/p>\n\n\n\n

The Flood Project: Thinking through an Applied Dramaturgy Framework for Community Regeneration<\/a>
Linda Hassall, Tanja Beer, Saffron Benner and Natalie Lazaroo<\/p>\n\n\n\n

Dramaturgy Beyond the Western Model: Interview with Ahilan Karunaharan and Jane Yonge<\/a>
by Alison Walls<\/p>\n\n\n\n

Hard-won Wisdom: Interview with Australian Dramaturg Peter Matheson<\/a>
by Kathryn Kelly<\/p>\n\n\n\n

Liquid Dramaturgy in Aotearoa: Interview with Nisha Madhan and Julia Croft<\/a>
Fiona Graham<\/p>\n\n\n\n

Co-conspiracy: An Intergenerational Dialogue on Queer\/ing Dramaturgy<\/a>
Alyson Campbell and Meta Cohen<\/p>\n\n\n\n

Letter to a Playwright: How Drama Works Dramaturgically<\/a>
Julian Meyrick<\/p>\n\n\n\n

Embodied Dramaturgy and Solo Performance: In the Pool with Emily Steel\u2019s 19 weeks<\/em><\/a>
Sarah Peters<\/p>\n\n\n\n

Practice Snapshot: Notes on Choreographic Dramaturgy<\/a>
alys longley<\/p>\n\n\n\n

Embodying a Posthuman Dramaturgy of Place: Distance, Sound and Silence in Australian Contemporary Performance<\/a>
Rea Dennis and Kate Hunter<\/p>\n\n\n\n

A Dramaturgy of Consent: Yes Yes Yes<\/em> by Eleanor Bishop and Karin McCracken<\/a>
James Wenley<\/p>\n\n\n\n

\u201cI don\u2019t know why I cried, but I did.\u201d Diversity and the Dramaturgy of Impact in Australian Theatre for Young People<\/a>
Paul Rae and Abbie Victoria Trott<\/p>\n\n\n\n

The Art of Taking Part: Dramaturgies of Encounter in Theatre for Early Years<\/a>
Sally Chance<\/p>\n\n\n\n

Outback Upfront: Playwriting Around Youth in Regional Australia<\/a>
David Megarrity and Jenna Gillett-Swan<\/p>\n\n\n\n

Dramaturgical Thinking: A Creative Conversation About Australian Dramaturgy<\/a>
Robert Ellis Walton and Alyson Campbell<\/p>\n\n\n\n

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

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

First M\u00e9tis Man of Odesa<\/em>: Liminalities, Ruptures, and Reconnections of Voice and Community in Ukraine and Canada<\/a>
Moira Day<\/p>\n\n\n\n

Against Epistemic Injustice: A Tribute to Maya Harbuzyuk<\/a>
Ewa Bal and Iryna Chuzhynova<\/p>\n\n\n\n

The Domestic Kitchen as Performance Space: The Female Artist vs the Housewife<\/a>
Athena Stourna<\/p>\n\n\n\n

Towards the Artificially Intelligent Playwright: Experimentation with Chat GPT<\/a>
Dominic Chamayou-Douglas<\/p>\n\n\n\n

Playing in \u201cSand Time\u201d: Using Both Video Score and Printed Script in an Intercultural Production of Sh\u014dgo \u014cta\u2019s Elements<\/em><\/a>
Lynette Hunter, Peter Lichtenfels and John Zibell<\/p>\n\n\n\n

Performing Presidents<\/a>
Maria Berlova<\/p>\n\n\n\n

Inter\/National Reflections<\/strong><\/h5>\n\n\n\n

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

In the Shadow of the Pyramids: Cairo International Festival of Experimental Theatre<\/a>
Andrea Porcheddu<\/p>\n\n\n\n

A Promising Comeback: Colombo International Theatre Festival and Sri Lankan Theatre<\/a>
Ajay Joshi<\/p>\n\n\n\n

The Glo-c-ality of Almada Festival<\/a>
Savas Patsalidis<\/p>\n\n\n\n

Avignon 2023: The New Beginning in Boulbon Quarry<\/a>
Ivan\u00a0Medenica<\/p>\n\n\n\n

Carnivalesque Theatricality, Cultural Literacy and the Wonders<\/em> of the Human Spirit: Sibiu International Theatre Festival at Thirty<\/a>
Octavian Saiu<\/p>\n\n\n\n

Next Page on Stage: 21st Century Dramaturgies<\/a>
Maria Ristani<\/p>\n\n\n\n

Herman Cornejo: Giving Voice to the Earth Through Dance<\/a>
Halima Tahan Ferreyra<\/p>\n\n\n\n

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

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

Uncannily Small: Policed Performance in Southeast Asia<\/a>
Katrina Stuart Santiago<\/p>\n\n\n\n

Interviews<\/strong><\/p>\n\n\n\n

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

The Lubimovka Echo Festival and the Russian Language Anti-War Drama in Exile<\/a>
by Anastasia Patlay, Liza Spivakovskaya, Yana Meerzon, Dmitri Priven<\/p>\n\n\n\n

Theatre is not a Delivery Service: Interview with Stefanie Carp<\/a>
by Savas Patsalidis<\/p>\n\n\n\n

\u201cLet\u2019s Talk for Real About Us\u201d: Interview with Raluca R\u0103dulescu<\/a>
by Savas Patsalidis<\/p>\n\n\n\n

Wrestling with Howard Barker: Interview<\/a>
by Elizabeth Sakellaridou<\/p>\n\n\n\n

\u201cHello, I am Koko\u201d: Interview with Koko Roinishvili<\/a>
by Irina Gogoberidze<\/p>\n\n\n\n

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

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

Edinburgh Fringe: Performances beyond Racial Identities<\/a>
Takehito Mitsui<\/p>\n\n\n\n

Theater der Welt 2023\u2014Dreaming Plural Worlds along the River Main<\/a>
Beri Juraic<\/p>\n\n\n\n

Immersive In\/Sights: Performing the Cancer Experience<\/a>
Vinia Dakari<\/p>\n\n\n\n

Impressions from the Romanian National Theatre Festival<\/a>
Savas Patsalidis<\/p>\n\n\n\n

Shattering Glass and a Funeral in Belgrade<\/a>
Matti Linnavuori and Rosa Tina Peri\u0107<\/p>\n\n\n\n

Stilled Tongues: Performance Protests Silence Surrounding Ghana\u2019s anti-LGBTQ+ Bill<\/a>
Robert Walton<\/p>\n\n\n\n

Kinky Boots<\/em>: \u201cComfort Theatre\u201d After the Before Times<\/a>
Lissa Tyler Renaud<\/p>\n\n\n\n

Canada\u2019s Stratford Festival Offers a Radical Richard II and a Lively King Lear<\/a>
Martin Morrow<\/p>\n\n\n\n

Theatrical Adaptation of Iconic Canadian Novel Asks Us to Witness<\/a>
Kyla Whetham<\/p>\n\n\n\n

De ce c\u00f4t\u00e9<\/em> : Une pi\u00e8ce sur le th\u00e9\u00e2tre politique<\/a>
Selim Lander<\/p>\n\n\n\n

Festival de micro-th\u00e9\u00e2tre \u00c9quinoxe : conqu\u00e9rir les nouveaux publics<\/a>
Lorie Ganley<\/p>\n\n\n\n

Resurrection of V\u00e1clav Havel\u2019s Theatre and Erotic Dreams in Pilsen<\/a>
Zbyn\u011bk \u010cern\u00edk<\/p>\n\n\n\n

In a Time of Want: The Trojan Women<\/a>
Alicia Corts<\/p>\n\n\n\n

The Joy of Theatre in Timi\u015foara, European Capital of Culture, 2023<\/a>
Maria Z\u0103rnescu<\/p>\n\n\n\n

Performance Art of Inclusivity, Human Stories and Revolutionary Politics<\/a>
Dara Milovanovi\u0107<\/p>\n\n\n\n

John Malkovich on Stage as a Serial Killer<\/a>
Asen Terziev<\/p>\n\n\n\n

\u00c9cho du stage pour jeunes critiques \u00e0 Varna<\/a>
Jean-Pierre Han<\/p>\n\n\n\n

dunaPart6: Focus on Young Independent Artists<\/a>
Kamelia Nikolova<\/p>\n\n\n\n


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

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

Puppetry and Multimedia<\/a>
Margareta S\u00f6renson<\/p>\n\n\n\n

Horatio\u2019s Stories: Portraits and Confessions of European Theatre Masters<\/a>
Louise Vigeant<\/p>\n\n\n\n

Les R\u00e9cits d\u2019Horatio: Portraits et aveux des ma\u00eetres du th\u00e9\u00e2tre europ\u00e9en<\/a>
Louise Vigeant<\/p>\n\n\n\n

Performing Arousal: Precarious Bodies and Frames of Representation<\/a>
Don Rubin<\/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-936","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/28\/wp-json\/wp\/v2\/pages\/936","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/28\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/28\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/28\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/28\/wp-json\/wp\/v2\/comments?post=936"}],"version-history":[{"count":25,"href":"https:\/\/www.critical-stages.org\/28\/wp-json\/wp\/v2\/pages\/936\/revisions"}],"predecessor-version":[{"id":1244,"href":"https:\/\/www.critical-stages.org\/28\/wp-json\/wp\/v2\/pages\/936\/revisions\/1244"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/28\/wp-json\/wp\/v2\/media?parent=936"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}