{"id":1049,"date":"2026-06-10T19:33:41","date_gmt":"2026-06-10T19:33:41","guid":{"rendered":"https:\/\/www.critical-stages.org\/33\/?page_id=1049"},"modified":"2026-06-30T16:52:46","modified_gmt":"2026-06-30T16:52:46","slug":"table-of-contents","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/33\/table-of-contents\/","title":{"rendered":"Table of Contents"},"content":{"rendered":"\n

Editorial Note: Performing the Contemporary Condition<\/a>
Note \u00e9ditoriale : R\u00e9alisation de la condition contemporaine<\/a>
Savas Patsalidis<\/strong><\/a>, Editor-in-Chief<\/p>\n\n\n\n

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

ACCELERATION<\/strong>
Guest Editors: Manuel Garc\u00eda Mart\u00ednez<\/strong><\/a> (Spain) and Annita Costa Malufe<\/a> <\/strong>(Brazil)<\/p>\n\n\n\n

Guest Editors\u2019 Introduction: Multiple Faces of Tempo and Speed in Theatre<\/a>
Manuel Garcia Martinez and Annita Costa Malufe<\/p>\n\n\n\n

Fast, Short-Lived and Exclusive: Rethinking Arts Policy in Accelerated Time<\/a>
Amar\u00edlis Felizes<\/p>\n\n\n\n

Scenographic Tempo and Digital Collaboration<\/a>
Patrick Rizzotti<\/p>\n\n\n\n

\u201cBridget is there\u201d: Accelerating the Cybernetic Subject in Lauren Mooney and James Yeatman\u2019s More Life<\/em><\/a>
Richard Jordan<\/p>\n\n\n\n

\u00c9puiser l\u00b4acc\u00e9l\u00e9ration : une performance du groupe br\u00e9silien Teatro da Vertigem<\/em><\/a>
Annita Costa Malufe et Eduardo Reis Silva<\/p>\n\n\n\n

Anxious Times\/Anxious Timings: Nonorganic Rhythms in the Choreography of Lucy Guerin<\/a>
Andrew Fuhrmann<\/p>\n\n\n\n

The Velocity of Stillness: Acceleration in Digital Radio Drama in Pandemic Times<\/a>
Sofia Karagianni and Marina Rigou<\/p>\n\n\n\n

Time Out of Joint: Zoom Theatre and the Aesthetics of Acceleration in Wang Chong\u2019s The Plague<\/em><\/a>
Manuel Garc\u00eda Martinez and Yan Yan<\/p>\n\n\n\n

Keeping Communities in Spontaneity Working on their Feet: The Concept of Acceleration in Applied Theatre Practice<\/a>
Keneth Bamuturaki<\/p>\n\n\n\n

Accelerated Rhythms: Performance, Tradition, and Transformation in 21st Century Assamese Theatre<\/a>
Bhaskar Jyoti Borah<\/p>\n\n\n\n

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

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

The Poetics of Parrhesia: Dramaturgies of Testimony at the Intersection of the Intimate and the Political<\/a>
Ana Pfeiffer Quiroz<\/p>\n\n\n\n

Mythmaking, Cultural Memory, and Postcolonial Dramaturgy in Kung Paano Nanalo sa Karera si Rosang Taba<\/em><\/a>
S Anril P. Tiatco and Jonas Gabriel Garcia<\/p>\n\n\n\n

Butoh-fu as a Devising Tool in Mixed-media Performance Making<\/a>
Eleni Kolliopoulou<\/p>\n\n\n\n

Different Pasts\/Shared Futures : Performing Pictures (Poter Gaan) in the UK for a Better Future<\/a>
A.M.M. Noor-Us-Saiyem Khan and Farjana Kabir<\/p>\n\n\n\n

When the Stage Becomes Solace for Exile: 40 Minutes Exile<\/em> and the Concept of Reactive Theatre<\/a>
J\u00f3zef Legierski<\/p>\n\n\n\n

Acting and Reenacting: Or How Videogames Transform the Role of the Audience<\/a>
George Vasilikaris<\/p>\n\n\n\n

Reframing Dashavatar<\/em>: Socio-Political Transformations Shaping Mise-en-Sc\u00e8ne<\/em> and Audience Engagement in South Konkan Folk Art<\/a>
Poorva Waman Pandit and Mahesh Kumar Mishra<\/p>\n\n\n\n

Transhistorical Dialogues: Recanonizing Shakespeare on the Contemporary Turkish Stage \u2013 PART 2<\/a>
Burak Urucu<\/p>\n\n\n\n

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

Dramaturgies of Interstitiality<\/strong>
Guest Editors: Nelson Barre<\/strong><\/a> (USA) and Stephanie Sandberg<\/strong><\/a> (USA)<\/p>\n\n\n\n

Guest Editors\u2019 Note. Dramaturgies of Interstitiality: Technology, Fragmentation, and the Composite Body in Contemporary Performance<\/a>
Nelson Barre and Stephanie Sandberg<\/p>\n\n\n\n

Towards a Meta-technological Ecocritical Dramaturgy: Entangling Digital Environments with Human \u201cLived\u201d Bodies in Automata<\/em><\/a>
Gra\u00e7a P. Corr\u00eaa<\/p>\n\n\n\n

Digital Dramaturgy as Composite-Body Making: The Hunger Games: On Stage<\/em> and Paddington: The Musical<\/em><\/a>
Bernadette Cochrane<\/p>\n\n\n\n

Beckett\u2019s Dramaturgy of Fragmentation and the Translation of Fragmentary Greek Tragedies<\/a>
Emma Cole<\/p>\n\n\n\n

Technological Weavings: The Good, The God and The Guillotine<\/em><\/a>
Jane Turner<\/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 Portal with an Unusual Code? Reflections on Peking Opera<\/a>
Kalina Stefanova<\/p>\n\n\n\n

Second Troupe of Peking Opera Performing a Mongolian Classical Drama<\/a>
Tumurkhu Namaa, Dashdondog Batsaikhan, and Altangerel Munkh-Orgil<\/p>\n\n\n\n

Contemporary Dance as a Political Tool on the Lithuanian Stage<\/a>
Vaidas Jauni\u0161kis<\/p>\n\n\n\n

Iona (Jonah)<\/em> in Translation: Purc\u0103rete\u2019s Allegory Between the Local and the Transnational<\/a>
Ion M. Tomu\u0219<\/p>\n\n\n\n

Creating Open Ended Gatherings: Reflections on the Meetings of TEB Oyun<\/em> Magazine On and Off the Page<\/a>
Eylem Ejder<\/p>\n\n\n\n

Staging Instability: Bodies, Power, and Postdramatic Forms at MITEM<\/a>
Savas Patsalidis<\/p>\n\n\n\n

Disappearing Acts: Two Trips to the Theatre in France on the Edge of War<\/a>
Rachel Shteir<\/p>\n\n\n\n

Between Otherness and Roots: The ALTERnative Biennale Teatro 2026<\/a>
Savas Patsalidis<\/p>\n\n\n\n

Conferences<\/strong><\/h5>\n\n\n\n

Editor: Hana Strej\u010dkov\u00e1<\/a><\/strong> (Czech Republic)<\/p>\n\n\n\n

Editor\u2019s Note. Reconfiguring Presence: Performing Arts, Technology, and the Future of Embodied Experience<\/a>
Hana Strej\u010dkov\u00e1<\/p>\n\n\n\n

Songs of Theatre and Robots \u2013 How AI Voices Cope in Theatre Settings<\/a>
Marius-Alexandru Teodorescu<\/p>\n\n\n\n

Re-Writing Theatre: Spectatorship and Technology in the Age of Digital Expansion<\/a>
Adelina Laura Buliba\u0219a<\/p>\n\n\n\n

Acting in VR Theatre Productions: Performance Capture<\/a>
Anca Ghenoside<\/p>\n\n\n\n

Digital Archiving of One-to-One Performance: From Singular Co-Presence to Collective Engagement<\/a>
Ana Tecar<\/p>\n\n\n\n

Framing Illness Stories in Theatre \u2013 An Identitarian and Storytelling Approach<\/a>
Daniela \u0218ilindean<\/p>\n\n\n\n

Inducing the Theta State through an Interactive Artistic Installation<\/a>
Andrea Iacob<\/p>\n\n\n\n

Distributed Bodies and Automatic Sensorium: AI in Performing Arts (four case studies)<\/a>
Horea Avram<\/p>\n\n\n\n

Missing Futures: Theatre Research and Education in 21st-Century Romania<\/a>
Cosmin Matei<\/p>\n\n\n\n

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

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

Iraqi Theatre Between Rupture and Resilience: An Introduction and Two Practitioner Conversations<\/a>
Farah Ali<\/p>\n\n\n\n

From East Berlin to a Beijing Teahouse<\/em>: A Conversation with Dramaturg Sebastian Kaiser<\/a>
Chaomei Chen<\/p>\n\n\n\n

\u201cDriven by uncertainty\u201d: Interview with J\u00falia R\u00e1zusov\u00e1<\/a>
D\u00e1ria Fojt\u00edkov\u00e1 Feh\u00e9rov\u00e1<\/p>\n\n\n\n

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

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

Thus Spake Wilson<\/a>
V\u0113sma L\u0113valde<\/p>\n\n\n\n

A Manifesto for an Age of Violence<\/a>
Ieva Rodi\u0146a<\/p>\n\n\n\n

Latvian Theatre Starts to Leave a Mark in Europe<\/a>
Lauma Mell\u0113na-Bartkevi\u010da<\/p>\n\n\n\n

Wicked Versailles in Helsinki<\/a>
Henna Raatikainen<\/p>\n\n\n\n

With Hamlet in the Stall\u2014Is Shakespeare down the Drain?<\/a>
Alexandra Dietz<\/p>\n\n\n\n

Your Shakespeare Is No Longer Your Shakespeare<\/a>
Marta Brklja\u010di\u0107<\/p>\n\n\n\n

And the Rest is Silence \u2026<\/a>
Dieter Topp<\/p>\n\n\n\n

What Brecht Can Teach Artists in Exile<\/a>
Azadeh Sharifi<\/p>\n\n\n\n

Un Misanthrope<\/em> interlope<\/a>
Selim Lander<\/p>\n\n\n\n

Choreographing Expenditure: The Politics of the Erotic in Bloody Moon<\/em><\/a>
Paraskevi Tektonidou<\/p>\n\n\n\n

Armenia Puts its Epic on Stage<\/a>
Anna Grigorievna Asatryan and Margarita Kamalyan<\/p>\n\n\n\n

Post-Epic Theatre and Ostermeier\u2019s An Enemy of the People<\/em><\/a>
Antonia Tsamouris<\/p>\n\n\n\n

Dejvice Theatre Showcase 2026: a Closer Look<\/a>
Kamelia Nikolova<\/p>\n\n\n\n

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

Editor: Katayoun Salmasi<\/a><\/strong> (Iran\/USA)<\/p>\n\n\n\n

Pierre Notte, L\u2019Effort d\u2019\u00eatre spectateur<\/em> et L\u2019Acteur, \u00e7a se saurait si \u00e7a servait \u00e0 quelque chose<\/em><\/a>
Selim Lander<\/p>\n\n\n\n

Theatre, Activism, and the Limits of Political Spectacle<\/a>
Asha Kuthari Chaudhuri<\/p>\n\n\n\n

Global Revolutions, Uneven Coverage<\/a>
Lenka Pichl\u00edkov\u00e1-Burke<\/p>\n\n\n\n

Performing Nationalism in Russia<\/a>
Alisa Ballard Lin<\/p>\n\n\n\n

Theater Kid: A Broadway Memoir<\/a>
Lou Harry<\/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

Disparition de Val\u00e8re Novarina (1942-2026), un vrai d\u00e9miurge<\/a>
Jean-Pierre Han<\/p>\n\n\n\n

Making Ideas Dance \u2013 In Memoriam: Tom Stoppard<\/a>
Michael Billington<\/p>\n\n\n\n

\u201cLess is More\u201d: Remembering Baz Kershaw<\/a>
Marissia Fragkou and Philip Hager<\/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,"jetpack_seo_schema_type":"","footnotes":""},"class_list":["post-1049","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/33\/wp-json\/wp\/v2\/pages\/1049","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/33\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/33\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/33\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/33\/wp-json\/wp\/v2\/comments?post=1049"}],"version-history":[{"count":8,"href":"https:\/\/www.critical-stages.org\/33\/wp-json\/wp\/v2\/pages\/1049\/revisions"}],"predecessor-version":[{"id":1221,"href":"https:\/\/www.critical-stages.org\/33\/wp-json\/wp\/v2\/pages\/1049\/revisions\/1221"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/33\/wp-json\/wp\/v2\/media?parent=1049"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}