{"id":367,"date":"2016-03-05T17:15:46","date_gmt":"2016-03-05T17:15:46","guid":{"rendered":"https:\/\/www.critical-stages.org\/5\/?page_id=367"},"modified":"2021-02-16T15:19:45","modified_gmt":"2021-02-16T15:19:45","slug":"contents","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/5\/","title":{"rendered":"Contents"},"content":{"rendered":"

Table of Contents<\/h1>\n

Editorial<\/a> |\u00a0\u00c9ditorial<\/a>
\nYun-Cheol Kim<\/p>\n

\n
Special Topic: Theatre and Exile<\/a><\/span><\/h5>\n

Section Editor: Don Rubin<\/strong><\/p>\n

Theatre and Exile: An Introduction<\/a>
\nDon Rubin<\/p>\n

Theatre in Exile: Defining the Field as Performing Odyssey<\/a>
\nYana Meerzon<\/p>\n

Looking Back to Greece: Exiles in the Ancient World<\/a>
\nSavas Patsalidis<\/p>\n

John Florio: The Case For Shakespeare As Exile<\/a>
\nLamberto Tassarini<\/p>\n

Michael Chekhov: Teaching (Acting) in a Foreign Land<\/a>
\nLiisa Byckling<\/p>\n

Through the Eyes of the Other: The Many Faces of Chong Wishing\/Jung Euishin\/Chong Wishin<\/a>
\nManabu Noda<\/p>\n

Yury Lyubimov in interview with Maria Shevtsova, 15 April 2011, St Petersburg<\/a>
\nMaria Shevtsova<\/p>\n

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

Section Editor: Randy Gener<\/strong><\/p>\n

Editorial Comment | The Critical Act of Conversation<\/a>
\nRandy Gener<\/p>\n

\u201cWe Make the Sublime Maneuver, Constantly Putting Ourselves on the Verge of Falling\u201d \u2014 An Interview with the Portuguese Collective Teatro Praga<\/a>
\nTiago Bartolomeu Costa<\/p>\n

\u201cFear. Hope. The Life Force\u201d: Why I Write Plays \u2014 Interview with Craig Lucas<\/a>
\nRandy Gener<\/p>\n

\u201cLooking Back Now After Seven Decades of Theatre Activity\u201d \u2014 An Interview with the Romanian Actor and Director Ion Lucian<\/a>
\nIoana Moldovan<\/p>\n

\u201cThat Point in the Drama Where It Starts to Hurt, That’s Where the Work Gets Interesting\u201d \u2014 Interview with Roland Schimmelpfenning, German Playwright and Director<\/a>
\nRandy Gener<\/p>\n

\u201cI Believe in a Theatre That Lives and Breathes Like a Rock ‘n’ Roll Band\u201d \u2014 Interview with Srdjan Jani\u0107ijevi\u0107, Macedonian Theatre Director<\/a>
\nNelko Nelkovski<\/p>\n

\u201cTrying to Look at Opera From the Pillars of Theatre\u201d \u2014 Interview with Ruth Margraff, U.S. Playwright and Librettist<\/a>
\nRandy Gener<\/p>\n

\u201cWe Have Been Silenced into Submission; It\u2019s All Skin-Deep Democracy\u201d \u2014 Interview with Ramu Ramanathan, Indian Playwright and Director<\/a>
\nDeepa Punjani<\/p>\n

\u201cYou Do Not Have to Mention Names, No Matter Whose Ox is Gored\u201d \u2014 Interview with Nigerian Playwright and Director Stella \u2018Dia Oyedepo<\/a>
\nNgozi Udengwu<\/p>\n

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

Section Editor: Maria Helena Ser\u00f4dio<\/strong><\/p>\n

Brief Introduction<\/a>
\nMaria Helena Ser\u00f4dio<\/p>\n

What is Theatre about?<\/a>
\nLu\u00eds Miguel Cintra<\/p>\n

Latvian anthropology \u00e0 la Alvis Hermanis<\/a>
\nNormunds Akots<\/p>\n

Questions au pass\u00e9 : \u00e0 propos de la pi\u00e8ce de Kim Kwang Lim et sa mise-en-sc\u00e8ne par Yoon, Jeongseop<\/a>
\nPatrice Pavis<\/p>\n

Notes From Canada : What Is A Classic? And Why? And When?<\/a>
\nPatricia Keeney & Don Rubin<\/p>\n

Sophocle, avec ou sans Bertrand Cantat<\/a>
\nLouise Vigeant<\/p>\n

Chroniques de la soci\u00e9t\u00e9 japonaise : \u00ab Th\u00e9\u00e2tre dans\u00e9 \u00bb de Toshiki Okada<\/a>
\nIr\u00e8ne Sadowska-Guillon<\/p>\n

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

Section Editor: Mark Brown<\/strong><\/p>\n

Editorial Comment<\/a>
\nMark Brown<\/p>\n

(Un)Critical (Re)positioning<\/a>
\nSavas Patsalidis<\/p>\n

Whose Performance Is It Anyway?<\/a>
\nMatti Linnavuori<\/p>\n

Critique and Criticism? Can They Survive in a Time of Intertextuality, Intermediality and Corporate Capitalism?<\/a>
\nToma\u017e Topori\u0161i\u010d<\/p>\n

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

Section Editor: Matti Linnavuori<\/strong><\/p>\n

Editorial Comment | Points of Comparison in Performance Reviews<\/a>
\nMatti Linnavuori<\/p>\n

Lettres d’Amour \u00e0 Staline; Rencontre fantasm\u00e9e entre l’artiste et son bourreau<\/a>
\nAlvina Ruprecht<\/p>\n

In Search of a Door<\/a>
\nTomasz Milkowski<\/p>\n

Once Again, a Woman\u2019s Murder Becomes Necessary on Stage<\/a>
\nG\u00fczin Yamaner<\/p>\n

\u201cThe Oscar for Drama,\u201d Sumptuous Ceremony in Saint Petersburg : Europe Theatre Prize, April 2011, in St Petersburg, Russia<\/a>
\nLudmila Patlanjoglu<\/p>\n

\u201cIn Place of Situations\u201d: Gertrude Stein\u2019s Libretto Liberato<\/a>
\nLissa Tyler Renaud<\/p>\n

A Mischievous Look at Post-1989 Democratic Theatre<\/a>
\nMatti Linnavuori<\/p>\n

Edinburgh Meets Asia in a Big Way<\/a>
\nYun-Cheol Kim<\/p>\n

Faute de dieux, on se sert des mortels<\/a>
\nDaria Dimiu<\/p>\n

To Be Honest in Moscow<\/a>
\nChristine Matvienko<\/p>\n

Danser le Chili & Un cin\u00e9ma pour incarner la danse<\/a>
\nIr\u00e8ne Sadowska-Guillon<\/p>\n

On Self-portrait by Nam Jeong ho<\/a>
\nPatrice Pavis<\/p>\n

German Discovers Opera in Africa<\/a>
\nBrent Meersman<\/p>\n

Ice-cold Winter Landscapes after Love: Shakespeare in Sfumato, Sofia<\/a>
\nKamelia Nikolova<\/p>\n

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

Section Editor: Don Rubin<\/strong><\/p>\n

Antoine Vitez : Trois fois \u00c9lectre (Antoine Vitez : Three Times Electra) (France)<\/a>
\nIr\u00e8ne Sadowska-Guillon<\/p>\n

Bricabrac : Du cauchemar r\u00e9el au r\u00e9alisme magique (Bricabrac :From Nightmare to Magic Realism) By Lucian Pintili\u00e9 (Romania)<\/a>
\nMaria Z\u0103rnescu<\/p>\n

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

In Defense of Inter-Cultural\/National-Criticism<\/a>
\nYun-Cheol Kim<\/p>\n","protected":false},"excerpt":{"rendered":"

Table of Contents Editorial |\u00a0\u00c9ditorial Yun-Cheol Kim Special Topic: Theatre and Exile Section Editor: Don Rubin Theatre and Exile: An Introduction Don Rubin Theatre in Exile: Defining the Field as Performing Odyssey Yana Meerzon Looking Back to Greece: Exiles in<\/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\/P7j4p8-5V","_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/5\/wp-json\/wp\/v2\/pages\/367","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/5\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/5\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/5\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/5\/wp-json\/wp\/v2\/comments?post=367"}],"version-history":[{"count":2,"href":"https:\/\/www.critical-stages.org\/5\/wp-json\/wp\/v2\/pages\/367\/revisions"}],"predecessor-version":[{"id":612,"href":"https:\/\/www.critical-stages.org\/5\/wp-json\/wp\/v2\/pages\/367\/revisions\/612"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/5\/wp-json\/wp\/v2\/media?parent=367"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}