{"id":387,"date":"2016-02-27T14:13:01","date_gmt":"2016-02-27T14:13:01","guid":{"rendered":"https:\/\/www.critical-stages.org\/4\/?page_id=387"},"modified":"2016-02-27T14:13:01","modified_gmt":"2016-02-27T14:13:01","slug":"essays","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/4\/essays\/","title":{"rendered":"Essays"},"content":{"rendered":"<div class=\"pt-cv-wrapper\"><div class=\"pt-cv-view pt-cv-grid pt-cv-colsys\" id=\"pt-cv-view-d126a4da28\"><div data-id=\"pt-cv-page-1\" class=\"pt-cv-page\" data-cvc=\"2\"><div class=\"col-md-6 col-sm-6 col-xs-12 pt-cv-content-item pt-cv-1-col\" ><div class='pt-cv-ifield'><a href=\"https:\/\/www.critical-stages.org\/4\/un-theatre-de-la-geste-logoclaste-valere-novarina\/\" class=\"_self pt-cv-href-thumbnail pt-cv-thumb-default\" target=\"_self\" ><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.critical-stages.org\/4\/wp-content\/uploads\/sites\/6\/2016\/02\/1167868092-150x150.png\" class=\"pt-cv-thumbnail\" alt=\"\" \/><\/a>\n<h4 class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/4\/un-theatre-de-la-geste-logoclaste-valere-novarina\/\" class=\"_self\" target=\"_self\" >Un th\u00e9\u00e2tre de la geste logoclaste : Val\u00e8re Novarina<\/a><\/h4><\/div><\/div>\n<div class=\"col-md-6 col-sm-6 col-xs-12 pt-cv-content-item pt-cv-1-col\" ><div class='pt-cv-ifield'><a href=\"https:\/\/www.critical-stages.org\/4\/du-temps-humain-a-propos-de-la-place-du-spectateur-dans-le-travail-du-teatro-meridional\/\" class=\"_self pt-cv-href-thumbnail pt-cv-thumb-default\" target=\"_self\" ><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.critical-stages.org\/4\/wp-content\/uploads\/sites\/6\/2016\/02\/1179673936-150x150.png\" class=\"pt-cv-thumbnail\" alt=\"\" \/><\/a>\n<h4 class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/4\/du-temps-humain-a-propos-de-la-place-du-spectateur-dans-le-travail-du-teatro-meridional\/\" class=\"_self\" target=\"_self\" >Du temps humain: \u00c0 propos de la place du spectateur dans le travail du Teatro Meridional<\/a><\/h4><\/div><\/div>\n<div class=\"col-md-6 col-sm-6 col-xs-12 pt-cv-content-item pt-cv-1-col\" ><div class='pt-cv-ifield'><a href=\"https:\/\/www.critical-stages.org\/4\/la-creation-theatrale-a-la-havane-espace-de-renouveau-de-la-reflexion-identitaire-cubaine\/\" class=\"_self pt-cv-href-thumbnail pt-cv-thumb-default\" target=\"_self\" ><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.critical-stages.org\/4\/wp-content\/uploads\/sites\/6\/2016\/02\/1336489735-150x150.png\" class=\"pt-cv-thumbnail\" alt=\"\" \/><\/a>\n<h4 class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/4\/la-creation-theatrale-a-la-havane-espace-de-renouveau-de-la-reflexion-identitaire-cubaine\/\" class=\"_self\" target=\"_self\" >La cr\u00e9ation th\u00e9\u00e2trale \u00e0 la Havane: Espace de renouveau de la r\u00e9flexion identitaire cubaine<\/a><\/h4><\/div><\/div>\n<div class=\"col-md-6 col-sm-6 col-xs-12 pt-cv-content-item pt-cv-1-col\" ><div class='pt-cv-ifield'><a href=\"https:\/\/www.critical-stages.org\/4\/la-premiere-version-de-caligula-du-texte-a-la-scene\/\" class=\"_self pt-cv-href-thumbnail pt-cv-thumb-default\" target=\"_self\" ><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.critical-stages.org\/4\/wp-content\/uploads\/sites\/6\/2016\/02\/1359916316-150x150.png\" class=\"pt-cv-thumbnail\" alt=\"\" \/><\/a>\n<h4 class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/4\/la-premiere-version-de-caligula-du-texte-a-la-scene\/\" class=\"_self\" target=\"_self\" >La premi\u00e8re version de Caligula : du texte \u00e0 la sc\u00e8ne<\/a><\/h4><\/div><\/div>\n<div class=\"col-md-6 col-sm-6 col-xs-12 pt-cv-content-item pt-cv-1-col\" ><div class='pt-cv-ifield'><a href=\"https:\/\/www.critical-stages.org\/4\/muffled-voices-the-unsung-ballad-post-colonial-indian-theatre-intentions-and-actual-practices\/\" class=\"_self pt-cv-href-thumbnail pt-cv-thumb-default\" target=\"_self\" ><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.critical-stages.org\/4\/wp-content\/uploads\/sites\/6\/2016\/02\/1322171616-150x150.png\" class=\"pt-cv-thumbnail\" alt=\"\" \/><\/a>\n<h4 class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/4\/muffled-voices-the-unsung-ballad-post-colonial-indian-theatre-intentions-and-actual-practices\/\" class=\"_self\" target=\"_self\" >Muffled Voices: The Unsung Ballad. Post-colonial Indian Theatre \u2013 Intentions and Actual Practices<\/a><\/h4><\/div><\/div>\n<div class=\"col-md-6 col-sm-6 col-xs-12 pt-cv-content-item pt-cv-1-col\" ><div class='pt-cv-ifield'><a href=\"https:\/\/www.critical-stages.org\/4\/the-grand-communicator-new-projects-of-arpad-schilling-and-the-kretakor-2008-2011\/\" class=\"_self pt-cv-href-thumbnail pt-cv-thumb-default\" target=\"_self\" ><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.critical-stages.org\/4\/wp-content\/uploads\/sites\/6\/2016\/02\/1054697008-150x150.png\" class=\"pt-cv-thumbnail\" alt=\"\" \/><\/a>\n<h4 class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/4\/the-grand-communicator-new-projects-of-arpad-schilling-and-the-kretakor-2008-2011\/\" class=\"_self\" target=\"_self\" >The Grand Communicator: New Projects of \u00c1rp\u00e1d Schilling and The Kr\u00e9tak\u00f6r (2008-2011)<\/a><\/h4><\/div><\/div>\n<div class=\"col-md-6 col-sm-6 col-xs-12 pt-cv-content-item pt-cv-1-col\" ><div class='pt-cv-ifield'><a href=\"https:\/\/www.critical-stages.org\/4\/the-pope-as-playwright-karol-wojtyla\/\" class=\"_self pt-cv-href-thumbnail pt-cv-thumb-default\" target=\"_self\" ><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.critical-stages.org\/4\/wp-content\/uploads\/sites\/6\/2016\/02\/1131285875-150x150.png\" class=\"pt-cv-thumbnail\" alt=\"\" \/><\/a>\n<h4 class=\"pt-cv-title\"><a href=\"https:\/\/www.critical-stages.org\/4\/the-pope-as-playwright-karol-wojtyla\/\" class=\"_self\" target=\"_self\" >The Pope as Playwright: Karol Wojtyla<\/a><\/h4><\/div><\/div><\/div><\/div><\/div>\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":{"footnotes":""},"class_list":["post-387","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P7j4tu-6f","_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/4\/wp-json\/wp\/v2\/pages\/387","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=387"}],"version-history":[{"count":0,"href":"https:\/\/www.critical-stages.org\/4\/wp-json\/wp\/v2\/pages\/387\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/4\/wp-json\/wp\/v2\/media?parent=387"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}