{"id":938,"date":"2024-12-20T18:29:04","date_gmt":"2024-12-20T18:29:04","guid":{"rendered":"https:\/\/www.critical-stages.org\/30\/?page_id=938"},"modified":"2025-01-05T08:02:21","modified_gmt":"2025-01-05T08:02:21","slug":"table-of-contents","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/30\/table-of-contents\/","title":{"rendered":"Table of Contents"},"content":{"rendered":"\n

Editorial Note:\u00a0Theatre in a World in Crisis<\/a>
Note \u00e9ditoriale :\u00a0Le th\u00e9\u00e2tre dans un monde en crise<\/a>
Savas Patsalidis<\/a>, Editor-in-Chief<\/p>\n\n\n\n

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

\u201cTruth\u201d in the Kafkaesque World of Theatre: Tragic or Comic?<\/strong>
Guest Editors: Aikaterini Delikonstantinidou<\/a> and Hana Strej\u010dkov\u00e1<\/a><\/p>\n\n\n\n

Kafkaesque Resonances in World Theatre: Introductory Note<\/a>
Aikaterini Delikonstantinidou<\/p>\n\n\n\n

Franz Kafka\u2014an Expressionist on the Contemporary Stage<\/a>
Zuzana Augustov\u00e1<\/p>\n\n\n\n

Kafka as a Starting Point for Circus Art<\/a>
Hana Strej\u010dkov\u00e1<\/p>\n\n\n\n

On the Cultural Virality of Truth in Kafka and the Kafkaesque<\/a>
Martin Boszor\u00e1d<\/p>\n\n\n\n

Antimyths About Slovakia<\/a>
D\u00e1ria Fojt\u00edkov\u00e1 Feh\u00e9rov\u00e1<\/p>\n\n\n\n

Postponed Judgment: What Does it Mean to Judge in the Kafkaesque World?<\/a>
Tomoko Seki<\/p>\n\n\n\n

What is \u03a4rue in the Theatre of the Post-truth Era, Or:  How did the Story About the Story Become the Main Story?<\/a>
Cecilia Djurberg<\/p>\n\n\n\n

Theatrical Creation and Public Debate in the Era of Cancel Culture<\/em><\/a>
Ioanna Lioutsia<\/p>\n\n\n\n

La physicalit\u00e9 dans l\u2019\u0153uvre de Kafka<\/a>
Jean-Pierre Han<\/p>\n\n\n\n

\u0391 Report to an Academy<\/em>. A Postcolonial and Ecocritical Performance by Zero Point Theatre<\/a>
Penelope Chatzidimitriou<\/p>\n\n\n\n

Shame as a Positive Tool in Educating Good Actors\u2014Jouko Turkka Draws Examples from Charlie Chaplin<\/a>
Matti Linnavuori<\/p>\n\n\n\n

Kafka on the Contemporary Chinese Stage<\/a>
Peng Tao<\/p>\n\n\n\n

\u201cFrom Stage to Street\u201d: Alice Theatre Laboratory\u2019s Kafkaesque Aesthetics and Experiments in Democratizing the Creative Process<\/a>
Bernice Chan and Huiwen Shi<\/p>\n\n\n\n

The Grotesque of a Kafkaesque World and Its Counterparts in Recent Korean Scenes<\/a>
Hwawon Lee<\/p>\n\n\n\n

Between Theatrical \u201cTruth\u201d and Historical \u201cFact\u201d: The Question of Female Love in Miyagi\u2019s Noh Rendition of Othello<\/em><\/a>
Tomoka Tsukamoto and Ted Motohashi<\/p>\n\n\n\n

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

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

Ukrainian Gambit: Decolonial Perspectives on the First Shakespeare Theatre Festival in Ukraine<\/a>
Ewa Bal<\/p>\n\n\n\n

Strawberry Fields (Not) Forever? \u201cIceberg Reflections\u201d on Performing Greenland<\/a>
Annelis Kuhlmann<\/p>\n\n\n\n

\u201cKatha Surpanakha\u201d: Performance as an Advocate Against Nationalist Ideology<\/a>
Sinjini Chatterjee<\/p>\n\n\n\n

Representation of the Collective Memory in the Contemporary Latvian Theatre: A Few Recent Examples<\/a>
Vesma Levalde<\/p>\n\n\n\n

Creating Khaita\u2014Joyful Dances: Historical and Contemporary Perspectives<\/a>
Eva Leick<\/p>\n\n\n\n

Probing Fatalistic and Deterministic Conversations in Ahmed Yerima\u2019s Drugga<\/em> and Victor Dugga\u2019s Gidan Juju<\/em><\/a>
Mark Ogah Onwe and Taiwo Afolabi<\/p>\n\n\n\n

Decolonising Performance and Unmasking Ethnology: Tanzanian Dance in a German Museum<\/a>
Charlie Ely<\/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

New Trends in Performance Analysis<\/a>
Patrice Pavis<\/p>\n\n\n\n

The Challenges of the Theatre Museum Amidst and Beyond the Pandemic: Digital Archiving and Revitalization Practices of Japanese Theatre<\/a>
Minako Okamuro<\/p>\n\n\n\n

Words, Space and Enacting the Archive<\/a>
Ashutosh Potdar<\/p>\n\n\n\n

Morphing Solidity: Wuzhen Theatre Festival at the Crossroads<\/a>
Zheyu WEI<\/p>\n\n\n\n

The World (and Theatre Blogging) Comes to China<\/a>
Zhu Ning<\/p>\n\n\n\n

John Florio, also Known as Shakespeare<\/a>
Michel Va\u00efs<\/p>\n\n\n\n

Victor Hugo\u2019s Cromwell<\/em> in its Entirety \u2013 A World Premi\u00e8re<\/a>
David Willinger<\/p>\n\n\n\n

Theatre in Slovenia Today: Problems and Promises<\/a>
Alja Predan<\/p>\n\n\n\n

Lots of Potential, Little Space: The Case of Slovenian Theatre<\/a>
Zala Dobov\u0161ek<\/p>\n\n\n\n

The Search for the \u201cOther\u201d and the \u201cReal\u201d: A Festival Journey from Cluj to Bucharest<\/a>
Savas Patsalidis<\/p>\n\n\n\n

My Exotic Girlfriend: Independent Hungarian Art in Hellerau<\/a>
No\u00e9mi Herczog<\/p>\n\n\n\n

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

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

\u201cChinese theatre goes where people go\u201d: Interview with Meng Jinghui<\/a>
by Peng Tao, Zhu Ning, and Savas Patsalidis<\/p>\n\n\n\n

\u201cBeing Here and Now\u201d in Virtual Reality Performance: Interview with Kwon Hayoun<\/a>
by Kyueun Kim<\/p>\n\n\n\n

Ethos of New Stockholm<\/em>: A City Invented to be Staged<\/a>
Deniz Ba\u015far, Art Babayants, and Yana Meerzon<\/p>\n\n\n\n

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

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

Andrew Scott\u2019s Vanya<\/em>: a Fusion of Souls<\/a>
Asen Terziev<\/p>\n\n\n\n

Romania, Make Room for Women<\/a>
Irina Zlotea<\/p>\n\n\n\n

BITEF2024: With Concern about the World We Live in<\/a>
Kamelia Nikolova<\/p>\n\n\n\n

Divadlo in Dialogue with Itself<\/a>
Matti Linnavuori<\/p>\n\n\n\n

\u00c0 Brno, le th\u00e9\u00e2tre et ses alentours \/ In Brno, Theatre and its Surroundings<\/a>
Mathis Grosos, Andriana-Anna Tsiotsiou, Callysta Croizer, Amanda L. Andrei, Marrie E. Bathory, Otto Ekman<\/p>\n\n\n\n

The Camera Is on You<\/a>
Patricia Keeney<\/p>\n\n\n\n

Contextualising Means Everything at the Kunsten Festival<\/a>
Beri Juraic<\/p>\n\n\n\n

Kristian Smeds in Search of \u201cFinnishness\u201d: Sauna, Hare Ears and Some Knockabout Comedy<\/a>
Aleksandra Dunaeva<\/p>\n\n\n\n

Almada Festival 2024: A Community Festival and Beyond<\/a>
Savas Patsalidis<\/p>\n\n\n\n

Le Dom Juan de Moli\u00e8re\/Make\u00efeff : d\u00e9capant !<\/a>
Selim Lander<\/p>\n\n\n\n

Queer Gestus, Antifascist Ritualism and Bloody Geopolitics in Oresteia<\/a>
Penelope Chatzidimitriou<\/p>\n\n\n\n

Medea<\/em> vs Medea<\/em>: Adapting the Ancient Myth<\/a>
Antonia Tsamouris<\/p>\n\n\n\n

Salesman in China<\/em>: East Meets West via an Arthur Miller Masterpiece<\/a>
Martin Morrow<\/p>\n\n\n\n

Cherry Orchard: Closer, Familiar, Summerweight Contact<\/a>
Choi Young Joo<\/p>\n\n\n\n

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

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

Sc\u00e8nes num\u00e9riques. Anthologie critique d\u2019\u00e9crits et d\u2019entretiens d\u2019artistes<\/a>
Th\u00e9o Arnulf<\/p>\n\n\n\n

NTC: Purc\u0103rete and Boroghina: Pilgrims of the Great Theatre of the World<\/a>
Maria Shevtsova<\/p>\n\n\n\n

The Playbook: A Story of Theatre, Democracy and the Making of a Culture War<\/a>
Don Rubin<\/p>\n\n\n\n

La R\u00e9colte<\/em> (une revue \u00e0 la d\u00e9couverte de nouveaux textes)<\/a>
Selim Lander<\/p>\n\n\n\n

Contre le th\u00e9\u00e2tre politique<\/em> (Against Political Theatre)<\/a>
Jos\u00e9 Maria Vieira Mendes and Rui Pina Coelho<\/p>\n\n\n\n

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

Editor: Ivan Medenica<\/a><\/strong> (Serbia)<\/p>\n\n\n\n

Equitable Theatre Criticism: An Overview<\/a>
Karen Fricker and Nathaniel Hanula-James<\/p>\n\n\n\n

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

The Art of Playful Seriousness: Suzanne Osten (1944-2024)<\/a>
Margareta S\u00f6renson<\/p>\n\n\n\n

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