{"id":453,"date":"2016-02-21T14:58:49","date_gmt":"2016-02-21T14:58:49","guid":{"rendered":"https:\/\/www.critical-stages.org\/3\/?page_id=453"},"modified":"2016-02-21T14:58:49","modified_gmt":"2016-02-21T14:58:49","slug":"special-files","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/3\/special-files\/","title":{"rendered":"Special Files"},"content":{"rendered":"
\"\"<\/a>\n

Redefining Femininity in Today\u2019s Theatre<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Therefore a Theme of Femininity (Opening Speech)<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Reframing the Feminine in the Theatre Today<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

L\u2019\u00e9volution du personnage f\u00e9minin dans l\u2019imaginaire des dramaturges qu\u00e9b\u00e9coises<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

TheatreWorks\u2019 Geisha: Representations and Misrepresentations<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Where the Wild Things Are: The Voice of Unreason in the Work of Canadian Playwright Judith Thompson<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Les femmes, les r\u00e9gimes<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Femininity\/Masculinity Beyond the Border<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Redefining Femininity in Modern Indian Theatre<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

The Concept of Femininity in the Latvian Theatre Historical and Contemporary Practices<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

The Emergence of the New Woman: Reflections on 21st Century Theatre of India<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Feminism, Art and Theatre in Iran<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

In the Prison House of Myth and Culture: Rereading The Atrides<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Chinese Women’s Liberation: A Road to the Stage<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

On Lynn Nottage\u2019s Ruined<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

R\u00e9flexions g\u00e9orgiennes<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Femininity and Body Language; Reflections on Pina Bausch and Mats Ek<\/a><\/h4><\/div><\/div><\/div><\/div><\/div>\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":{"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-453","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P7gg5F-7j","_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/3\/wp-json\/wp\/v2\/pages\/453","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/3\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/3\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/3\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/3\/wp-json\/wp\/v2\/comments?post=453"}],"version-history":[{"count":0,"href":"https:\/\/www.critical-stages.org\/3\/wp-json\/wp\/v2\/pages\/453\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/3\/wp-json\/wp\/v2\/media?parent=453"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}