{"id":880,"date":"2024-06-17T09:34:47","date_gmt":"2024-06-17T09:34:47","guid":{"rendered":"https:\/\/www.critical-stages.org\/29\/?page_id=880"},"modified":"2024-09-27T17:23:07","modified_gmt":"2024-09-27T17:23:07","slug":"table-of-contents","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/29\/table-of-contents\/","title":{"rendered":"Table of Contents"},"content":{"rendered":"\n

Editorial Note: Ever Changing Dancescapes<\/a>
Note \u00e9ditoriale : Paysages dansants toujours changeants<\/a>
Savas Patsalidis<\/strong><\/a>, Editor-in-Chief<\/p>\n\n\n\n

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

Extended Dance Territories<\/em><\/strong>
Guest Editors: Margareta S\u00f6renson<\/strong><\/a> (Sweden), Steriani Tsintziloni<\/strong><\/a> (Greece)<\/p>\n\n\n\n

Extended  Dance Territories \u2013 Guest Editors\u2019 Note<\/a>
Margareta S\u00f6renson, Steriani Tsintziloni<\/p>\n\n\n\n

\u201cTrue Art Consists of Gaps\u201d: Interview with Cristina Caprioli \u2013 the Golden Lion in Venezia Biennale de la Danza 2024<\/a>
by Maina Arvas<\/p>\n\n\n\n

Steve Paxton (1939-2024): Contact Improvisation for Generations<\/a>
Hilde Rustad<\/p>\n\n\n\n

Dialogue in Motion or Reading the Present from the Past: Interview with Maria Martha Gigena<\/a>
by Halima Tahan Ferreyra<\/p>\n\n\n\n

Bridging Cultural Divides Through the Art of Chinese Dance: Interview with Ma Jiaolong (\u9a6c\u86df\u9f99) and Zhao Zhibo (\u8d75\u77e5\u535a)<\/a>
Zhao Yang<\/p>\n\n\n\n

Southern Dance Hall: Movement and Community in Post Pandemic Guangzhou, Southern China<\/a>
Tiantian XIE<\/p>\n\n\n\n

Visions and Gifts: Martha Graham, Memory and Practice<\/a>
Kim Jones and Fen Kennedy<\/p>\n\n\n\n

How African is Africa? Postnormality and Futures Assessment of Indigenous Dance Art in Nigeria<\/a>
Princewill Chukwuma Abakporo, Stanley Timeyin Ohenhen, Stephen Ogheneruro Okpadah<\/p>\n\n\n\n

Art Therapy in a Country at War: Ukraine\u2019s Contemporary Dance Practices<\/a>
Lyudmila Mova, Viktor Ruban, Hanna Veselovska<\/p>\n\n\n\n

Towards a Poetics of Affectability: Dance in More-Than-Human Worlds<\/a>
Jonas Schnor<\/p>\n\n\n\n

Dancing with AI: Unveiling the Potentials and Pitfalls of ChatGPT for a New Wave of Dance Critics and Criticism<\/a>
Deanne Kearney<\/p>\n\n\n\n

Connecting and Disconnecting Bodies<\/a>
Johannes Birringer<\/p>\n\n\n\n

Commmunal Choreographies: Claiming the Embodied Public Sphere in Recent Climate Activism<\/a>
Susanne Foellmer<\/p>\n\n\n\n

Land\/ing Dance\u2014Of Hosting and Being Hosted: Guest Curating in Dance<\/a>
Angela Conquet<\/p>\n\n\n\n

La danse \u00e9largit ses territoires : \u00c9volution de la danse contemporaine en France au XXI si\u00e8cle<\/a>
Jean Couturier<\/p>\n\n\n\n

Staging Aging in Queer Style<\/a>
Josephine Leask<\/p>\n\n\n\n

Reaching Out for the Search Within: Sushant Gaurav Dances a Kathak of His Own<\/a>
Ajay Joshi<\/p>\n\n\n\n

Re-Thinking Autobiographical Choreo-Performance as a Window to Activism<\/a>
Magda Barouta<\/p>\n\n\n\n

Situating Choreographies of the Real in Elefsina: Mystery 59 U(R)TOPIAS Academy of Choreography: dance MyS+eries \/ Season 2<\/em><\/a>
Maria Konomi<\/p>\n\n\n\n

Sinikka Gripenberg: A Dance Life in Photos<\/a>
Margareta S\u00f6renson<\/p>\n\n\n\n

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

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

The Silent Genocide and its Afterlives: Witnessing and Remembering Traumatic Histories in Rahul Varma\u2019s State of Denial<\/a>
Aamna Rashid<\/p>\n\n\n\n

De la thysia Grecques aux cr\u00e9ations d\u2019Ang\u00e9lica Liddell : Une probl\u00e9matisation du sacrifice \u00e0 partir de l\u2019action th\u00e9\u00e2trale<\/a>
Martina Tosticarelli<\/p>\n\n\n\n

The New Wave of Belarus Drama<\/a>
Natalia Skorokhod<\/p>\n\n\n\n

Audience Involvement, Multiple Layering, and Resonances in Numbers Increase As We Count\u2026<\/em><\/a>
\u00dclfet Sevdi<\/p>\n\n\n\n

\u201cWhere We Die Together in Real Time\u201d: Staging Prosthetic Liveness in To Be a Machine (Version 1.0)<\/em><\/a>
Huayu Yang<\/p>\n\n\n\n

The Macro in the Micro: Using Theatre Festivals to Test the Temperature of the Industry<\/a>
Dermot Daly<\/p>\n\n\n\n

Choreography \u03bff Life: Krist\u012bne Br\u012bni\u0146a and Her Documentary Dance Method<\/a>
Kitija Balcare <\/p>\n\n\n\n

Looking With \u201cFingeryeyes\u201d: An Exploration of Material Touch in Sonja Jokiniemi\u2019s Performances Blab<\/em> and Howl<\/em><\/a>
Lieze Roels<\/p>\n\n\n\n

The Dance Movement of Bengal: Rabindranath and His Dance-Dramas<\/a>
Nilanjana Bhattacharya<\/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

Planning Europe\u2019s Future Theatre<\/a>
Savas Patsalidis<\/p>\n\n\n\n

The Price of Water: Reflections on an Anthropological Play<\/a>
Maria Kastrinou, Hannah Knoerk and Johannes Birringer<\/p>\n\n\n\n

A Promising Restart: The \u201cMini\u201d Showcase of Bulgaria\u2019s National Theatre<\/a>
Savas Patsalidis<\/p>\n\n\n\n

The BeSeTo Festival is Back to Splendid Life in Shenzhen<\/a>
Kalina Stefanova<\/p>\n\n\n\n

How to Resist?<\/a>
Milo Rau<\/p>\n\n\n\n

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

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

\u201cLiving\u201d Beyond \u201cCorrectness\u201d: Words, Enemies, and Media. Interview with Misaki Setoyama<\/a>
By Tomoka Tsukamoto and Ted Motohashi<\/p>\n\n\n\n

A Festival that Shape-shifted to Stay Alive: Interview with Mark Russell<\/a>
By Stefanie Carp<\/p>\n\n\n\n

Past and Present Meet Head-on: Interview with Christiane Jatahy<\/a>
By Anna Stavrakopoulou<\/p>\n\n\n\n

\u201cTools. No Rules.\u201d: An Interview with Roberta Levitow<\/a>
By Aikaterini Delikonstantinidou<\/p>\n\n\n\n

How Can we Act Together? Declaration of the Free Republic of Wien: Interview with Milo Rau<\/a>
By Ivan Medenica<\/p>\n\n\n\n

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

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

A Very Moving Hamlet<\/em><\/a>
Patricia Keeney<\/p>\n\n\n\n

Robert Wilson, Declan Donnnellan, Robert Lepage in a Nutshell<\/a>
Yun-Cheol Kim<\/p>\n\n\n\n

Incandescences<\/em> d\u2019Ahmed Madani \u2013 De la catharsis comique<\/a>
Selim Lander<\/p>\n\n\n\n

Albee Deconstructed: Robert Wilson\u2019s Three Tall Women<\/em><\/a>
Antonia Tsamouris<\/p>\n\n\n\n

The Quest of Turkey\u2019s Independent Theatres<\/a>
Savas Patsalidis<\/p>\n\n\n\n

More than (Classical) Dance<\/a>
Penelope Chatzidimitriou<\/p>\n\n\n\n

Sofi Oksanen on Russian Anti-Gay Practices<\/a>
Matti Linnavuori<\/p>\n\n\n\n

Once Upon a Time . . . Through a Glass Darkly<\/a>
Soila Lehtonen<\/p>\n\n\n\n

Of Balance, Oscillation and Feeling: A Twenty-first-century Circus Experience<\/a><\/a>
Katharine Kavanagh<\/p>\n\n\n\n

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

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

Michel Tremblay: Plays in Scots (Two Vols.)<\/a>
Mark Fisher<\/p>\n\n\n\n

Theatre in a Post-Truth World: Text, Politics and Performance<\/a>
Katayoun Salmasi<\/p>\n\n\n\n

Le Sacrifice comme acte po\u00e9tique<\/a>
Selim Lander<\/p>\n\n\n\n

The Great White Bard: How To Love Shakespeare While Talking About Race<\/a>
Don Rubin<\/p>\n\n\n\n

2024 Thalia Prize Ceremony<\/strong><\/h5>\n\n\n\n

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

<\/a>The Thalia Prize: Erika Fischer-Lichte<\/a>
Jeffrey Eric Jenkins<\/p>\n\n\n\n

A Few Words About the Laureate\u2019s Oeuvre<\/em><\/a>
Ivan Medenica<\/p>\n\n\n\n

Erika Fischer-Lichte and the Importance of Sacrifice<\/a>
Savas Patsalidis<\/p>\n\n\n\n

Let Theatre Happen, or How Erika Fischer-Lichte Continues to Inspire Us<\/a>
Manabu Noda<\/p>\n\n\n\n

Erika Fischer-Lichte\u2019s oeuvre<\/em> in China<\/a>
Zhu Ning<\/p>\n\n\n\n

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

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

Edward Bond: The Missed Voice of a True Socialist Writer<\/a>
Elizabeth Sakellaridou<\/p>\n\n\n\n

Ren\u00e9 Pollesch (1962-2024): the Great Post-dramatic Auteur Director<\/a>
Thomas Irmer<\/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-880","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/29\/wp-json\/wp\/v2\/pages\/880","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/29\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/29\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/29\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/29\/wp-json\/wp\/v2\/comments?post=880"}],"version-history":[{"count":17,"href":"https:\/\/www.critical-stages.org\/29\/wp-json\/wp\/v2\/pages\/880\/revisions"}],"predecessor-version":[{"id":1137,"href":"https:\/\/www.critical-stages.org\/29\/wp-json\/wp\/v2\/pages\/880\/revisions\/1137"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/29\/wp-json\/wp\/v2\/media?parent=880"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}