EDITORIAL<\/a> A True Friend of Theatre Art\u00a0in All its Manifestations: Richard Schechner<\/a> Open Casting<\/a> Chandradasan<\/a> Mattias Andersson<\/a> Slobodan Dan Paich<\/a> Caridad Svich<\/a> Redefining Femininity in Today\u2019s Teatre<\/a> Therefore a Theme of Femininity<\/a> Reframing the Feminine in the Theatre Today<\/a> L\u2019\u00e9volution du personnage f\u00e9minin dans l\u2019imaginaire des dramaturges qu\u00e9b\u00e9coises<\/a> TheatreWorks\u2019 Geisha: Representations and Misrepresentations<\/a> Where the Wild Things Are:\u00a0The Voice of Unreason in the Work of Canadian Playwright Judith Thompson<\/a> Les femmes, les r\u00e9gimes<\/a> Femininity\/Masculinity Beyond the Border<\/a> Redefining Femininity in Modern Indian Theatre<\/a> The Concept of Femininity in the Latvian Theatre Historical\u00a0and Contemporary Practices<\/a> The emergence of the New Woman: Reflections on 21st Century Theatre of India<\/a> Feminism, Art and Theatre in Iran<\/a> In the Prison House of Myth and Culture: Rereading The Atrides<\/a> Chinese Women’s Liberation: A Road to the Stage<\/a> On Lynn Nottage\u2019s Ruined<\/a> R\u00e9flexions g\u00e9orgiennes<\/a> Femininity and Body Language; Reflections on Pina Bausch and Mats Ek<\/a> Un point de vue critique sur les r\u00e9\u00e9critures des mythes grecs dans\u00a0le th\u00e9\u00e2tre fran\u00e7ais contemporain<\/a> Classical Dreams \u2013 Adaptations of Classics<\/a> In memoriam: Laurent Terzieff, un athl\u00e8te affectif du c\u0153ur<\/a> In memoriam: Pina Bausch, Beautiful and Tragic, Solemn and Classic<\/a> Lipsynch : Lorsque dure l\u2019enchantement<\/a> Incendiary Questions<\/a> Remettre en question ce que signifie la maison : Chez Cha-suk dont\u00a0l\u2019adresse est 1 dong 28<\/a> L\u2019\u00e9criture \u00e0 Avignon (2010) : Vers un retour de la narration?<\/a> Pupilija, Papa Pupilo and the Pupilceks: A Reconstruction<\/a> Notes on the Armenian Theatre<\/a> The Hamlet Constellation Cuts to the Bone<\/a> Post-Holocaust or Gordian Knot: Dritte Generation<\/a> The Edinburgh Festival 2010: a Report from a Scottish Perspective<\/a> Contemporary European Directors<\/a>,\u00a0Edited by Maria M. Delgado & Dan Rebellato (London: Routledge, 2009) Contested Will: Who Wrote Shakespeare?<\/a>,\u00a0by James Shapiro (New York: Simon & Schuster, 2009) La montagne des langues: \u00e9critures th\u00e9\u00e2trales du Caucase<\/a>,\u00a0Dirig\u00e9 par Dominique Dolmieu & Virginie Symaniec Keisarinajan kulisseissa (Imperial Russian Entertainment in Finland)<\/a>,\u00a0by Liisa Byckling \u2013 in Finnish (Helsinki: Suomalaisen kirjallisuuden seura, 2009) \u0152uvres compl\u00e8tes de Moli\u00e8re (nouvelle \u00e9dition)<\/a>,\u00a0Ed. par Georges Forestier & Claude Bourqui (Paris : Gallimard, 2010) The Relationship Between Performance and Criticism<\/a> Apr\u00e8s Avignon 2010<\/a> In Search of a Criticism without Borders<\/a>
\nMaria Helena Ser\u00f4dio<\/p>\n
\nTHALIA PRIZE \/ LE PRIX THALIE<\/a><\/span><\/h5>\n
\nDon Rubin<\/p>\n
\nRichard Schechner<\/p>\n
\nTHEATRE VIEWS \/ VISIONS DU TH\u00c9\u00c2TRE<\/a><\/span><\/h5>\n
\nInterviewed by Lissa Tyler Renaud<\/p>\n
\nInterviewed by Randy Gener<\/p>\n
\nInterviewed by Lissa Tyler Renaud<\/p>\n
\nInterviewed by Randy Gener<\/p>\n
\nSPECIAL FILE \/ DOSSIER SPECIAL: SYMPOSIUM IN YEREVAN<\/a><\/span><\/h5>\n
\nMargareta S\u00f6renson<\/p>\n
\nYun Cheol Kim<\/p>\n
\nMaria Helena Ser\u00f4dio<\/p>\n
\nBrigitte Purkhardt<\/p>\n
\nPhilip Zitowitz<\/p>\n
\nPatricia Keeney<\/p>\n
\nMagdolna J\u00e1kfalvi<\/p>\n
\nAkiko Tachiki<\/p>\n
\nRavinder Kaul<\/p>\n
\nGuna Zeltina<\/p>\n
\nRavi Chaturvedi<\/p>\n
\nKaty Salmasi<\/p>\n
\nSavas Patsalidis<\/p>\n
\nZhu Ning<\/p>\n
\nRandy Gener<\/p>\n
\nIrina Gogob\u00e9ridz\u00e9<\/p>\n
\nMargareta S\u00f6renson<\/p>\n
\nESSAYS \/ ESSAIS<\/a><\/span><\/h5>\n
\nIr\u00e8ne Sadowska-Guillon<\/p>\n
\nDavid Zinder<\/p>\n
\nIr\u00e8ne Sadowska-Guillon<\/p>\n
\nMargareta S\u00f6renson<\/p>\n
\nREVIEWS (PERFORMANCES) \/ ANALYSES (SPECTACLES)<\/a><\/span><\/h5>\n
\nMichel Va\u00efs<\/p>\n
\nLudmila Patlanjoglu<\/p>\n
\nNoh Yi-Joung<\/p>\n
\nPatrice Pavis<\/p>\n
\nRok Vevar<\/p>\n
\nMehdi Nasiri<\/p>\n
\nLudmila Patlanjoglu<\/p>\n
\nTomasz Milkowski<\/p>\n
\nMark Brown<\/p>\n
\nTHEATRE IN PRINT \/ TH\u00c9\u00c2TRE IMPRIM\u00c9<\/a><\/span><\/h5>\n
\nChristopher Innes<\/p>\n
\nDon Rubin<\/p>\n
\n(Paris: Editions Non Lieu et l\u2019Espace d\u2019un instant, 2009)
\nIr\u00e8ne Sadowska<\/p>\n
\nMatti Linnavuori<\/p>\n
\nPhilippe Rouyer<\/p>\n
\nCRITICS ON CRITICISM \/ CRITIQUES SUR LA CRITIQUE<\/a><\/span><\/h5>\n
\nYun Cheol Kim (President, I.A.T.C.)<\/p>\n
\nPatrice Pavis<\/p>\n
\nRandy Gener<\/p>\n