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Critical Stages/Scènes Critiques
The IATC journal/Revue de l'AICT – December/Décembre 2024: Issue No 30
Special Topic
Essays
Inter/National Reflections
Interviews
Performance Reviews
Book Reviews
Critics on Criticism
In Memoriam
Kafkaesque Resonances in World Theatre: Introductory Note
Aikaterini Delikonstantinidou
Franz Kafka—an Expressionist on the Contemporary Stage
Zuzana Augustová
Kafka as a Starting Point for Circus Art
Hana Strejčková
On the Cultural Virality of Truth in Kafka and the Kafkaesque
Martin Boszorád
Antimyths About Slovakia
Dária Fojtíková Fehérová
Postponed Judgment: What Does it Mean to Judge in the Kafkaesque World?
Tomoko Seki
What is Τrue in the Theatre of the Post-truth Era, Or: How did the Story About the Story Become the Main Story?
Cecilia Djurberg
Theatrical Creation and Public Debate in the Era of
Cancel Culture
Ioanna Lioutsia
La physicalité dans l’œuvre de Kafka
Jean-Pierre Han
Α Report to an Academy
. A Postcolonial and Ecocritical Performance by Zero Point Theatre
Penelope Chatzidimitriou
Shame as a Positive Tool in Educating Good Actors—Jouko Turkka Draws Examples from Charlie Chaplin
Matti Linnavuori
Kafka on the Contemporary Chinese Stage
Peng Tao
“From Stage to Street”: Alice Theatre Laboratory’s Kafkaesque Aesthetics and Experiments in Democratizing the Creative Process
Bernice Chan and Huiwen Shi
The Grotesque of a Kafkaesque World and Its Counterparts in Recent Korean Scenes
Hwawon Lee
Between Theatrical “Truth” and Historical “Fact”: The Question of Female Love in Miyagi’s Noh Rendition of
Othello
Tomoka Tsukamoto and Ted Motohashi
La physicalité dans l’œuvre de Kafka
Jean-Pierre Han
The Grotesque of a Kafkaesque World and Its Counterparts in Recent Korean Scenes
Hwawon Lee
Α Report to an Academy
. A Postcolonial and Ecocritical Performance by Zero Point Theatre
Penelope Chatzidimitriou
Franz Kafka—an Expressionist on the Contemporary Stage
Zuzana Augustová
Essays
Ukrainian Gambit: Decolonial Perspectives on the First Shakespeare Theatre Festival in Ukraine
Ewa Bal
Strawberry Fields (Not) Forever? “Iceberg Reflections” on Performing Greenland
Annelis Kuhlmann
“Katha Surpanakha”: Performance as an Advocate Against Nationalist Ideology
Sinjini Chatterjee
Representation of the Collective Memory in the Contemporary Latvian Theatre: A Few Recent Examples
Vesma Levalde
Creating Khaita—Joyful Dances: Historical and Contemporary Perspectives
Eva Leick
Probing Fatalistic and Deterministic Conversations in Ahmed Yerima’s
Drugga
and Victor Dugga’s
Gidan Juju
Mark Ogah Onwe and Taiwo Afolabi
Decolonising Performance and Unmasking Ethnology: Tanzanian Dance in a German Museum
Charlie Ely
Inter/National Reflections
New Trends in Performance Analysis
The Challenges of the Theatre Museum Amidst and Beyond the Pandemic: Digital Archiving and Revitalization Practices of Japanese Theatre
Words, Space and Enacting the Archive
Morphing Solidity: Wuzhen Theatre Festival at the Crossroads
The World (and Theatre Blogging) Comes to China
John Florio, also Known as Shakespeare
Victor Hugo’s
Cromwell
in its Entirety – A World Première
Theatre in Slovenia Today: Problems and Promises
Lots of Potential, Little Space: The Case of Slovenian Theatre
The Search for the “Other” and the “Real”: A Festival Journey from Cluj to Bucharest
My Exotic Girlfriend: Independent Hungarian Art in Hellerau
New Trends in Performance Analysis
The Challenges of the Theatre Museum Amidst and Beyond the Pandemic: Digital Archiving and Revitalization Practices of Japanese Theatre
Words, Space and Enacting the Archive
Morphing Solidity: Wuzhen Theatre Festival at the Crossroads
The World (and Theatre Blogging) Comes to China
John Florio, also Known as Shakespeare
Victor Hugo’s <em>Cromwell</em> in its Entirety – A World Première
Theatre in Slovenia Today: Problems and Promises
Lots of Potential, Little Space: The Case of Slovenian Theatre
The Search for the “Other” and the “Real”: A Festival Journey from Cluj to Bucharest
My Exotic Girlfriend: Independent Hungarian Art in Hellerau
Interviews
“Chinese theatre goes where people go”: Interview with Meng Jinghui
by Peng Tao, Zhu Ning, and Savas Patsalidis
“Being Here and Now” in Virtual Reality Performance: Interview with Kwon Hayoun
by Kyueun Kim
Ethos of
New Stockholm
: A City Invented to be Staged
Deniz Başar, Art Babayants, and Yana Meerzon
Performance Reviews
Andrew Scott’s
Vanya
: a Fusion of Souls
Asen Terziev
Romania, Make Room for Women
Irina Zlotea
BITEF2024: With Concern About the World We Live in
Kamelia Nikolova
Divadlo in Dialogue with Itself
Matti Linnavuori
À Brno, le théâtre et ses alentours / In Brno, Theatre and its Surroundings
Mathis Grosos, Andriana-Anna Tsiotsiou, Callysta Croizer, Amanda L. Andrei, Marrie E. Bathory, Otto Ekman
The Camera Is on You
Patricia Keeney
Contextualising Means Everything at the Kunsten Festival
Beri Juraic
Kristian Smeds in Search of “Finnishness”: Sauna, Hare Ears and Some Knockabout Comedy
Aleksandra Dunaeva
Almada Festival 2024: A Community Festival and Beyond
Savas Patsalidis
Le Dom Juan de Molière/Makeïeff : décapant !
Selim Lander
Queer Gestus, Antifascist Ritualism and Bloody Geopolitics in Oresteia
Penelope Chatzidimitriou
Medea
vs
Medea
: Adapting the Ancient Myth
Antonia Tsamouris
Salesman in China
: East Meets West via an Arthur Miller Masterpiece
Martin Morrow
Cherry Orchard: Closer, Familiar, Summerweight Contact
Choi Young Joo
Book Reviews
Scènes numériques. Anthologie critique d’écrits et d’entretiens d’artistes
NTC: Purcărete and Boroghina: Pilgrims of the Great Theatre of the World
The Playbook: A Story of Theatre, Democracy and the Making of a Culture War
La Récolte
(une revue à la découverte de nouveaux textes)
Contre le théâtre politique
(Against Political Theatre)
Critics on Criticism
Equitable Theatre Criticism: An Overview
Equitable Theatre Criticism: An Overview
In Memoriam
The Art of Playful Seriousness: Suzanne Osten (1944-2024)
The Art of Playful Seriousness: Suzanne Osten (1944-2024)