{"id":865,"date":"2025-12-15T19:02:23","date_gmt":"2025-12-15T19:02:23","guid":{"rendered":"https:\/\/www.critical-stages.org\/32\/?page_id=865"},"modified":"2026-01-03T19:23:53","modified_gmt":"2026-01-03T19:23:53","slug":"table-of-contents","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/32\/table-of-contents\/","title":{"rendered":"Table of Contents"},"content":{"rendered":"\n

Editorial Note: Remapping Theatre in an Era of Sociopolitical Uncertainty<\/a>
Note \u00e9ditoriale : Red\u00e9finir le th\u00e9\u00e2tre \u00e0 une \u00e9poque d\u2019incertitude sociopolitique<\/a>
Savas Patsalidis<\/a>, Editor-in-Chief<\/p>\n\n\n\n

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

REMAPPING ASIAN THEATRES<\/strong>
Towards Inter-Asia Theatre Studies: Modernity, Historical Conditions and Changing Ways of Seeing<\/strong>
Guest Editors: Jen-Hao Hsu (Walter)<\/a>, Sir Anril P. Tiatco<\/a>, and Deniz Ba\u015far<\/a><\/p>\n\n\n\n

Introduction<\/a>
Encountering the Immediate Other: Towards Inter-Asia Theatre Studies<\/a>
Walter Jen-Hau Hsu, Deniz Ba\u0219ar, S Anril Tiatco<\/p>\n\n\n\n

Transhistorical Dialogues: Recanonizing Shakespeare on the Contemporary Turkish Stage<\/a>
Burak Urucu<\/p>\n\n\n\n

Cross-Cultural Reinterpretation: The Evolution of Mime in 1980s China<\/a>
Yiping HUANG<\/p>\n\n\n\n

Performing Ecology\u2014Dap-ay as a Performative Model in the Aanak di Kabiligan Community Theatre\u2019s Staging of Balitok: Voices from the Mines<\/a>
Roger Federico<\/p>\n\n\n\n

\u2018Traditional\u2019 Kabuki \u2013 from Business Practice to National Policy<\/a>
Tove Johanna Bjoerk<\/p>\n\n\n\n

In A State of Constant Migration: Conversation With Fatma Onat<\/a>
Fatma Onat and Deniz Ba\u015far<\/p>\n\n\n\n

Traces of a Lost Archive: Four Selected Theatre Criticisms by Fatma Onat from 2010s\u2019 \u0130stanbul<\/a>
Fatma Onat<\/p>\n\n\n\n

A Woman with Two Husbands: A Play with Two Displays\u2014Ways of Seeing Taiwanese Kua-a-hi during the Japanese Colonial Period<\/a>
Yin-Chen Kang<\/p>\n\n\n\n

Musicals, Actors, and Audiences in the Seoul-Tokyo Musical Theatre Exchange<\/a>
Laura MacDonald<\/p>\n\n\n\n

Perceiving Audible Spectatorship: Audience Awareness, Migrant Emptiness, and Inter-Asian Resonance in the Wordless Play Request sa Radyo<\/em><\/a>
Popo Tabao Amascual<\/p>\n\n\n\n

Voices In-between: Three Contemporary Asian Theatre Makers Crossing Borders<\/a>
Beri Juraic<\/p>\n\n\n\n

What a Blue Daisy Can Bring to Contemporary Vietnamese Theatre: Translated Performances of Vietnamese Drama<\/a>
Yuko Nobe<\/p>\n\n\n\n

Whose Intercultural Theatre?: A Case Study of NSYSU-Chula Summer Intercultural Theatre Program<\/a>
Jen-Hao Hsu (Walter)<\/p>\n\n\n\n

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

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

<\/a>\u201cWhat are the traces of a festival?\u201d Expanded Dramaturgies of Curating <\/a>
\u201cDifferent Narratives\u201d \u2013 Baltic Circle<\/a>
Katalin Trencs\u00e9nyi<\/p>\n\n\n\n

Symphonies of Tibetan Memory: Surviving in Exile Through Opera<\/a>
Jahnvi Sharma<\/p>\n\n\n\n

Mediating the Sacred: Tradition and Adaptations in Shadow Puppetry of Kerala<\/a>
Rahul Koonathara<\/p>\n\n\n\n

Validating the Operated Performing Objects (OPO) Character Model Through Kentridge\u2019s Black Box\/Chambre Noire<\/a>
Janine Lewis, Mienke Fouch\u00e9, and Laetitia Orlandi<\/p>\n\n\n\n

Mise-en-sc\u00e8ne and the Stage Space: Goddess of the Niger<\/em> and Theatrical Dynamics of Ahaba Culture<\/a>
Francisca A. Nwadigwe<\/p>\n\n\n\n

Jean Carzou, a Scenographer: 1968 Production of Thierry Maulnier\u2019s Jeanne et les Juges<\/em><\/a>
Ararat Aghasyan and Margarita Kamalyan<\/p>\n\n\n\n

Reenacting the Tragedy of the Defeated<\/a>
Katerina Arvaniti<\/p>\n\n\n\n

Performing Post-War Memory: Trauma, Identity, and Moral Decay in Kosovo\u2019s Balkan Brothel<\/a>
Ilir Muharremi, Albana Krasniqi, and Atlanta Balidemaj<\/p>\n\n\n\n

Era-Specific Interpretations of Shakespeare\u2019s \u201cSaddest Comedy\u201d in Latvian Theatre<\/a>
Vesma Levalde and Sigita Ignatjeva<\/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

A Dramaturgical Manifesto of a Filipino Eco-theatre: Indigenous Narratives for a Socially Engaged Performance<\/a>
Sir Anril P. Tiatco, Jem R. Javier and Gaby Asanza<\/p>\n\n\n\n

Between Mother Tongues and English: Creating a Community of Asian Diaspora Experiences Through Documentary Theatre<\/a>
Yibin Wang and Yejia Sun<\/p>\n\n\n\n

Reliving the Past: Reflections on Reenactments by Dulambuhay Philippine Playback Theatre and Tanghalang Tatsulok<\/a>
Joe Louie A. Lavaro<\/p>\n\n\n\n

Balik\/Balik: The Undoing of Self\/Exoticization in Teaching\/Performing\/Staging Igal\/Pangalay<\/em> in Canada<\/a>
Dennis Gupa<\/p>\n\n\n\n

Covering Theatre Artists Efforts in New Genres<\/a>
Brad Hathaway<\/p>\n\n\n\n

Fabulamundi<\/em>, Playwriting Europe. New Voices<\/em> \u2013 an Insider\u2019s View, Review and Interview<\/a>
Anda Cadariu<\/p>\n\n\n\n

Theatre\u2019s Faustian Bargain: Power and Peril in Technology<\/a>
Marina (Maka) Vasadze and Lasha Chkhartishvili<\/p>\n\n\n\n

Borderline Stages: The Trajectory of Freedom Theatre Festival in Narva<\/a>
Jaak Allik<\/p>\n\n\n\n

Alone Together: Solo Theatre in a Plural World<\/a>
Eleni Gkini<\/p>\n\n\n\n

L\u2019adaptation et la mise en sc\u00e8ne contemporaine : La Famille Cach\u00e9e dans les Nuages<\/a>
Patrice Pavis<\/p>\n\n\n\n

Through Foreign Eyes: Reflecting on the Bucharest National Theatre Festival (2025)<\/a>
Savas Patsalidis<\/p>\n\n\n\n

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

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

On Being Robbed of Polite Boredom: Finding the Code. Interview with Director Robert Icke<\/a>
George Rodosthenous<\/p>\n\n\n\n

Risk, Bravery and Theatre or The End and the Beginning of the Free World: Interview with M\u00e4rt Meos<\/a>
Inna Gr\u00fcnfeldt and Katarina Tomps<\/p>\n\n\n\n

La metteuse en sc\u00e8ne kazakhstanaise Galina Pyanova : \u00ab Apr\u00e8s Avignon, j\u2019ai retrouv\u00e9 la joie du th\u00e9\u00e2tre \u00bb<\/a>
Irina Antonova<\/p>\n\n\n\n

Between Memory and Fire: The State of Contemporary Pakistani Theatre. Interview with Maham Fahad<\/a>
Farah Ali<\/p>\n\n\n\n

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

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

Double Double Biker Trouble<\/a>
Patricia Keeney<\/p>\n\n\n\n

In Ransacking Troy<\/em>, Ancient Greece\u2019s \u201cForever War\u201d Inspires a Feminist Fantasy<\/a>
Martin Morrow<\/p>\n\n\n\n

Finns Remember Invisible Migrants through Performance<\/a>
Pirkko Koski<\/p>\n\n\n\n

Performing Arts across Borders: Exchange among Three Neighbouring Countries<\/a>
Takehito Mitsui<\/p>\n\n\n\n

Exploring an Arab Zone of Diverse Theatre Cultures<\/a>
Thomas Irmer<\/p>\n\n\n\n

Castellucci\u2019s Amorous B\u00e9r\u00e9nice<\/em><\/a>
Antonia Tsamouris<\/p>\n\n\n\n

Antigone<\/em> de Sophocle \u00e0 travers l\u2019optique formaliste de Ulrich Rasche<\/a>
Eleni Gkini<\/p>\n\n\n\n

Kielce Showcases Poland\u2019s Contemporary Theatre<\/a>
Asen Terziev<\/p>\n\n\n\n

In Cluj-Napoca Stories Refuse to Fade<\/a>
Handan Salta<\/p>\n\n\n\n

Robert Sturua\u2014an Ambassador of Georgian Theatre on the Global Stage<\/a>
Marina (Maka) Vasadze<\/p>\n\n\n\n

Taire, Mon Antigone<\/em> \u2013 Mythe d\u2019hier, r\u00e9alit\u00e9 d\u2019aujourd\u2019hui<\/a>
Selim Lander<\/p>\n\n\n\n

Englishness and Humanity: The Revival of 4.48 Psychosis<\/em><\/a>
Tomoko Seki<\/p>\n\n\n\n

Encounters with Czechs on the Move<\/a>
Matti Linnavuori<\/p>\n\n\n\n

Perverted Traditions and Psychedelic Ecstasy<\/a>
Johannes Birringer<\/p>\n\n\n\n

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

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

Shakespeare in the Theatre: The Stratford Festival<\/a>
Don Rubin<\/p>\n\n\n\n

1. Walter Benjamin: \u00c9crits sur le th\u00e9\u00e2tre \/ 2. Les Mille Plateaux de Walter Benjamin<\/a>
Selim Lander<\/p>\n\n\n\n

Three New Volumes on Finnish Director Jouko Turkka<\/a>
Outi Lahtinen<\/p>\n\n\n\n

Michael Chekhov: 16 Lessons in Kaunas<\/a>
Lenka Pichl\u00edkov\u00e1-Burke<\/p>\n\n\n\n

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

Editor: Critical Stages\/Sc\u00e8nes critiques<\/em><\/strong><\/p>\n\n\n\n

\u201cIt Is All the Same Hand\u201d: Robert Wilson (4 October 1941- 31 July 2025)<\/a>
 Maria Shevtsova<\/p>\n\n\n\n

Theatre King of Playwrights: Claus Peymann (1937-2025)<\/a>
Thomas Irmer<\/p>\n\n\n\n

Bahram Beyzaie (1936-2025): A Life Without Compromise, an End in Exile<\/a>
Katayoun Salmasi<\/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-865","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/32\/wp-json\/wp\/v2\/pages\/865","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/32\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/32\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/32\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/32\/wp-json\/wp\/v2\/comments?post=865"}],"version-history":[{"count":10,"href":"https:\/\/www.critical-stages.org\/32\/wp-json\/wp\/v2\/pages\/865\/revisions"}],"predecessor-version":[{"id":952,"href":"https:\/\/www.critical-stages.org\/32\/wp-json\/wp\/v2\/pages\/865\/revisions\/952"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/32\/wp-json\/wp\/v2\/media?parent=865"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}