{"id":689,"date":"2025-06-13T16:18:30","date_gmt":"2025-06-13T16:18:30","guid":{"rendered":"https:\/\/www.critical-stages.org\/31\/?page_id=689"},"modified":"2025-07-11T17:43:24","modified_gmt":"2025-07-11T17:43:24","slug":"table-of-contents","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/31\/table-of-contents\/","title":{"rendered":"Table of Contents"},"content":{"rendered":"\n

Editorial Note: Performing the Future: Theatre at the Crossroads of Crisis and Renewal<\/a>
Note \u00e9ditoriale : Jouer l\u2019avenir : Le th\u00e9\u00e2tre au carrefour de la crise et du renouveau<\/a>
Savas Patsalidis<\/a>, Editor-in-Chief<\/p>\n\n\n\n

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

Performance, Climate and Conflict Transformation<\/strong>
Guest Editors: Roberta Levitow<\/a>, Chantal Bilodeau<\/a> and Aikaterini Delikonstantinidou<\/a><\/p>\n\n\n\n

Introductory Note: Toward Ecologies of Action<\/a>
Roberta Levitow, Chantal Bilodeau and Aikaterini Delikonstantinidou<\/p>\n\n\n\n

Florida EcoPerformance Manifesto: Producing Climate Forward Live Arts in the State of the Future<\/a>
Elizabeth Doud<\/p>\n\n\n\n

Connecting the Dots from the River to the Gulf: Turning River Data Flow into Sound Performance Speaks Volumes for Rio Grande Ecology<\/a>
Marya Errin Jones<\/p>\n\n\n\n

\u201cWe Come from the Place of Many Tongues\u201d: The Land Memory Bank, Mondo Bizarro and the Mississippi<\/a>
Monique Verdin, Nick Slie, Lisa D\u2019Amour<\/p>\n\n\n\n

It Is Our Fault<\/em>: Theatre on the Climate Catastrophe in Egypt<\/a>
Jillian Campana<\/p>\n\n\n\n

The Absurdity of Collapse: Ecosomatics, Memory, and Bioethics in Project Abyssos<\/em><\/a>
Eva Gkadri<\/p>\n\n\n\n

Say Yes to Me. Or Penguins, Provocation and Bulging Hope<\/a>
Moira Finucane<\/p>\n\n\n\n

Riding the Waves of Change: Sailing with the Flipflopi Project<\/a>
Mick Warwick<\/p>\n\n\n\n

Theatre of Hunger: Climate Fasts and Protests in Ladakh<\/a>
Nikhil Katara<\/p>\n\n\n\n

Culinary Climate Action, Food Justice and the Revolution in Our Gardens<\/a>
DJ Cavem<\/p>\n\n\n\n

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

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

Relocation, Dislocation, Recontextualization: Two Recent U.S. Stagings of Adigun\/Doyle Playboy<\/em><\/a>
Bisi Adigun and Meghan Winch<\/p>\n\n\n\n

Two Stages, One Vision: Stefan Larsson\u2019s Adaptation of Ibsen\u2019s Little Eyolf<\/em> in Sweden and Cyprus<\/a>
Maria Hamali and Maria Sehopoulou<\/p>\n\n\n\n

Like an Alien Hair in One\u2019s Mouth: Anmar Taha\u2019s Theatrical Performance and the Use of the Body<\/a>
Farah Ali and Majeed Mohammed Midhin<\/p>\n\n\n\n

Singing History\u2014Politics of Idiom and Genre in Ted Hearne\u2019s Music(al)-Theatre<\/a>
David Roesner<\/p>\n\n\n\n

Le fil m\u00e9moriel et la dimension onirique dans les spectacles num\u00e9riques de Lemieux-Pilon<\/a>
Filip Dukanic<\/p>\n\n\n\n

Community Theatre in Colombia: Origins and Trajectories<\/a>
Sarah Ashford Hart and Janneth Aldana<\/p>\n\n\n\n

Hybrid Times and Traditional Dance: The Egbenu-Oba Experiment in Nigeria<\/a>
Princewill Chukwuma Abakporo,  Fidelis Enang Egbe, Abdumalik Adakole Amali, Stanley Timeyin Ohenhen, Ofega Eru<\/p>\n\n\n\n

Theatricality of Medicine Hucksters: A \u201cRoad Map\u201d Towards Modern Performing Arts and the Preservation of Local Culture<\/a>
Kurniasih Zaitun. Eko Supriyanto, Yusril<\/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

Uniting Europe in an Age of Fracture<\/a>
Heidi Wiley<\/p>\n\n\n\n

Crafted Figures Make German History: Notes from Berlin<\/a>
Loren Kruger<\/p>\n\n\n\n

Before and After \u2013 War or Peace<\/a>
Johannes Birringer<\/p>\n\n\n\n

A 60-year-old Theatre Festival: Theatertreffen<\/a>
\u0130lker \u00c7al\u0131\u015fkan<\/p>\n\n\n\n

Stage Worlds of Poetry and Human Passions: Iasi National Theatre Showcase<\/a>
Savas Patsalidis<\/p>\n\n\n\n

Embracing the Un\/scene of Hope at the NTNG\u2019s 6th International Forest Festival<\/a>
Maria Ristani and Marissia Fragkou<\/p>\n\n\n\n

Under Supervision or Underground: The Spaces of Contemporary Iranian Theatre<\/a>
Ali Mansouri<\/p>\n\n\n\n

Theatrical Manifestations on the Scenic Horizon of Buenos Aires<\/a>
Halima Tahan Ferreyra<\/p>\n\n\n\n

Intercultural Adaptations of Sophocles\u2019 Antigone: Antigone Mania by Rabijita Gogoi<\/a>
Subrat Jyoti Neog<\/p>\n\n\n\n

Wandering to Wuzhen: A Festival of Encounters<\/a>
Grigorios Ioannidis<\/p>\n\n\n\n

Shakespearean Inheritance and Innovation in Chinese Campus Theatre<\/a>
Huiyue Wen and Li Zeng<\/p>\n\n\n\n

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

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

Staging the Precarious, the Vulnerable, and the Stranger: The Stage of Filipino Director Jos\u00e9 Estrella<\/a>
Sir Anril P. Tiatco, Jem R. Javier, Jos\u00e9 Estrella<\/p>\n\n\n\n

The Path of Sadhana: A Life Spent in Search of the Ancient Wisdom of Acting. Interview with Gopal Venu<\/a>
Renu Ramanath<\/p>\n\n\n\n

\u201cWuzhen is a window for China to see the world through theatre, and for the world to see China through theatre\u201d: Interview with Stan Lai<\/a>
Peng Tao, Zhu Ning, and Savas Patsalidis<\/p>\n\n\n\n

Burn the Colony<\/em>: Crafting a Play About Aboriginal and Torres Strait Islander Deaths in Custody<\/a>
Nazaree Dickerson and Sarah Woodland<\/p>\n\n\n\n

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

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

The Challenges of a Multilingual Showcase<\/a>
Savas Patsalidis<\/p>\n\n\n\n

Before the Gate, a Rain of Light<\/a>
Octavian Szalad<\/p>\n\n\n\n

Building Theatre Bridges in Southeast Europe<\/a>
Yun-Cheol Kim<\/p>\n\n\n\n

Finnish Animal Farm<\/em> Caged and Chained<\/a>
Pirkko Koski<\/p>\n\n\n\n

Frida<\/em> : oui, mais \u00e9tait-ce bien n\u00e9cessaire ?<\/a>
Selim Lander<\/p>\n\n\n\n

Slovak Directors Avoid Intrusion<\/a>
Matti Linnavuori<\/p>\n\n\n\n

VOICES<\/em>: Performing Intersections of War, Memory and Migration<\/a>
Yana Meerzon, Alexey Munipov, Natalia Skorokhod<\/p>\n\n\n\n

The Sight of Music<\/a>
Sylvia Solakidi<\/p>\n\n\n\n

Pot of Chaos: Young Critics Discussing Juggle and Hide<\/em><\/a>
Young Critics<\/p>\n\n\n\n

The Choreography of Encounter<\/a>
Ya\u015fam \u00d6zlem G\u00fclseven<\/p>\n\n\n\n

The Start of a Movement: Disruption, Reflection and the Art of Invitation in Choreographic Intrusion<\/em> and Juggle and Hide<\/em><\/a>
Natalie Rine<\/p>\n\n\n\n

New Voices of Hanoi: Puppets, Shadows and Urban Change in ToLo Puppet Theatre\u2019s Th\u1ed5 \u0111\u1ecba<\/em><\/a>
Qiao Zhangweijing<\/p>\n\n\n\n

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

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

Du luxe et de l\u2019Impuissance  (The Rich and the Powerless) \/ Il ne m\u2019est jamais rien arriv\u00e9  (It Never Arrived) Un projet de Vincent Dedienne<\/a>
Selim Lander<\/p>\n\n\n\n

Theatre and its Audiences: Reimagining the Relationship in Times of Crisis<\/a>
Katayoun Salmasi<\/p>\n\n\n\n

Jean-Marie Serreau \u2013 Fragments et extraits r\u00e9unis et pr\u00e9sent\u00e9s<\/a>
Selim Lander<\/p>\n\n\n\n

Quels r\u00f4les pour le spectateur \u00e0 l\u2019\u00e8re num\u00e9rique?<\/a>
Lou Gargouri<\/p>\n\n\n\n

The Paris Manuscript: The Early Draft Rediscovered<\/a>
Lenka Pichl\u00edkov\u00e1-Burke<\/p>\n\n\n\n

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

In Memoriam: Athol Fugard (1932-2025)<\/a>
Temple Hauptfleisch<\/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-689","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/31\/wp-json\/wp\/v2\/pages\/689","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/31\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/31\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/31\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/31\/wp-json\/wp\/v2\/comments?post=689"}],"version-history":[{"count":11,"href":"https:\/\/www.critical-stages.org\/31\/wp-json\/wp\/v2\/pages\/689\/revisions"}],"predecessor-version":[{"id":894,"href":"https:\/\/www.critical-stages.org\/31\/wp-json\/wp\/v2\/pages\/689\/revisions\/894"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/31\/wp-json\/wp\/v2\/media?parent=689"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}