{"id":367,"date":"2016-02-27T13:38:21","date_gmt":"2016-02-27T13:38:21","guid":{"rendered":"https:\/\/www.critical-stages.org\/4\/?page_id=367"},"modified":"2021-02-16T15:22:00","modified_gmt":"2021-02-16T15:22:00","slug":"contents","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/4\/","title":{"rendered":"Contents"},"content":{"rendered":"

Table of Contents<\/h1>\n

Editorial<\/a> | \u00c9ditorial<\/a>
\nYun-Cheol Kim<\/p>\n

\n
Special Topic: Censorship in Disguise<\/a><\/span><\/h5>\n

The Struggle for a Free Theatre | Or \u201cLong Live Belarus\u201d<\/a>
\nRandy Gener<\/p>\n

A Revolution Sells Its Children<\/a>
\nIvan Medenica<\/p>\n

Expatriates in Their Own Country<\/a>
\nAndrea Tompa<\/p>\n

\n
Interviews<\/a><\/span><\/h5>\n

En qu\u00eate d’une issue pour demain\u00a0\u2014 Entretien avec Zinnie Harris<\/a>
\nby Ir\u00e8ne Sadowska-Guillon<\/p>\n

\u201cTo Visualize the Invisible, the In-Between Space\u201d\u00a0\u2014 An Interview with the Macedonian Performance Artist Igor Josifov<\/a>
\nby Randy Gener<\/p>\n

\u201cArt Always Gets Caught Between the Pages of History\u201d: A Flemish Coincidence\u00a0\u2014 Interview with Jan Lauwers<\/a>
\nby Randy Gener<\/p>\n

La sc\u00e8ne de la r\u00e9g\u00e9n\u00e9ration de soi\u00a0\u2014 Entretien avec Arne Lygre<\/a>
\nby Ir\u00e8ne Sadowska-Guillon<\/p>\n

A Director with Zeitgeist: Peking Opera Meets the Western Canon\u00a0\u2014 Interview with Ma, Bao-Shan<\/a>
\nby Lissa Tyler Renaud<\/p>\n

\n
Essays<\/a><\/span><\/h5>\n

Un th\u00e9\u00e2tre de la geste logoclaste: Val\u00e8re Novarina<\/a>
\nIr\u00e8ne Sadowska-Guillon<\/p>\n

Du temps humain:\u00a0\u00c0 propos de la place du spectateur face au th\u00e9\u00e2tre du Teatro Meridional<\/a>
\nMaria Jo\u00e3o Brilhante<\/p>\n

La cr\u00e9ation th\u00e9\u00e2trale \u00e0 la Havane:\u00a0Espace de renouveau de la r\u00e9flexion identitaire cubaine<\/a>
\nAlvina Ruprecht<\/p>\n

La premi\u00e8re version de Caligula: du texte \u00e0 la sc\u00e8ne<\/a>
\nSophie Bastien<\/p>\n

Muffled Voices:\u00a0The Unsung Ballad. Post-colonial Indian Theatre \u2013 Intentions and Actual Practices<\/a>
\nAjay Joshi<\/p>\n

The Grand Communicator:\u00a0New Projects of \u00c1rp\u00e1d Schilling and The Kr\u00e9tak\u00f6r (2008-2011)<\/a>
\nTam\u00e1s J\u00e1szay<\/p>\n

The Pope as Playwright: Karol Wojtyla<\/a>
\nAndrzej \u017burowski<\/p>\n

\n
Conference Papers<\/a><\/span><\/h5>\n

Editorial: Conference Papers Section<\/a>
\nMark Brown<\/p>\n

[Maribor Conference]<\/strong><\/p>\n

An Introduction to the Papers on Intercriticism,\u00a0Given at the Conference in Maribor, Slovenia, October 20-21, 2010<\/a>
\nPrimo\u017e Jesenko<\/p>\n

Quelques questions sur la place du critique dramatique contemporain<\/a>
\nJean-Pierre Han<\/p>\n

New Criticism and Theatre: Transfigurations of Critical Judgment<\/a>
\nBla\u017e Lukan<\/p>\n

\u2018Inter-critic\u2019 without a Conflict of Interest<\/a>
\nIvan Medenica<\/p>\n

Intercriticism and the Myth of Critical Distance<\/a>
\nDon Rubin<\/p>\n

Two Degrees of Separation<\/a>
\nZuzana Uli\u010dianska<\/p>\n

[Tbilisi Conference]<\/strong><\/p>\n

Goga and Goderdzi Waiting for Godot, or a Spectator of the Modern Theatre<\/a>
\nDavid Bukhrikidze<\/p>\n

Theatres-Audiences-Critics: Keeping Watch over Each Other<\/a>
\nLiu Minghou<\/p>\n

\n
Performance Reviews<\/a><\/span><\/h5>\n

The End of One Road, the Beginning of Another: Xhosa Theatre in Cape Town<\/a>
\nRob Baum<\/p>\n

Raspberry: Censorship Makes an Artist Grow<\/a>
\nLasha Chkhartishvili<\/p>\n

Un \u00e9chantillon de th\u00e9\u00e2tre iranien<\/a>
\nJean-Pierre Han<\/p>\n

Killbeth: Korean Shakespeare with Heung and Energy<\/a>
\nBangock Kim<\/p>\n

Walking in the Air, Mr Vertigo:\u00a0a Fantasy of (an Artist\u2019s) Freedom by Kristian Smeds<\/a>
\nSoila Lehtonen<\/p>\n

Do the Georgians Want a War?<\/a>
\nMatti Linnavuori<\/p>\n

Zack: New Year and a New Relationship!<\/a>
\nMehrdad Rayani Makhsous<\/p>\n

Leonce and Lena from Cluj: Finally, and Gently, It Makes Sense<\/a>
\nAglika Oltean<\/p>\n

Musical Life Is Beautiful!<\/a>
\nMaria Z\u0103rnescu<\/p>\n

Who Kills Heiner Mueller? A Chinese Performance of Hamletmachine<\/a>
\nQingyan Zhang<\/p>\n

\n
Book Reviews<\/a><\/span><\/h5>\n

Directors\/Directing:\u00a0Conversations on Theatre By Maria Shevtsova and Christopher Innes (Canada)<\/a>
\nDon Rubin<\/p>\n

Must You Go? My Life with Harold Pinter By Antonia Fraser (Canada)<\/a>
\nPatricia Keeney<\/p>\n

In Search of Lost Space (\u00cen c\u0103utarea spa\u0163iului pierdut)\u00a0by Octavian Saiu (Romania)<\/a>
\nIon Bogdan Lefter<\/p>\n

Un \u0153il sur le bazar:\u00a0Anthologie des \u00e9critures th\u00e9\u00e2trales turques\u00a0Sous la direction de Dominique Dolmieu et Zeynap Su Kasapoglu (France)<\/a>
\nIr\u00e8ne Sadowska-Guillon<\/p>\n

\n
Critics on Criticism<\/a><\/span><\/h5>\n

Criticism and Artist Engagement<\/a>
\nSteve Capra<\/p>\n

The Critic and the Drama: \u201cAesthetic Jurisprudence\u201d<\/a>
\nGeorge Jean Nathan<\/p>\n","protected":false},"excerpt":{"rendered":"

Table of Contents Editorial | \u00c9ditorial Yun-Cheol Kim Special Topic: Censorship in Disguise The Struggle for a Free Theatre | Or \u201cLong Live Belarus\u201d Randy Gener A Revolution Sells Its Children Ivan Medenica Expatriates in Their Own Country Andrea Tompa<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-367","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P7j4tu-5V","_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/4\/wp-json\/wp\/v2\/pages\/367","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/4\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/4\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/4\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/4\/wp-json\/wp\/v2\/comments?post=367"}],"version-history":[{"count":2,"href":"https:\/\/www.critical-stages.org\/4\/wp-json\/wp\/v2\/pages\/367\/revisions"}],"predecessor-version":[{"id":618,"href":"https:\/\/www.critical-stages.org\/4\/wp-json\/wp\/v2\/pages\/367\/revisions\/618"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/4\/wp-json\/wp\/v2\/media?parent=367"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}