{"id":172,"date":"2016-03-08T18:04:38","date_gmt":"2016-03-08T18:04:38","guid":{"rendered":"https:\/\/www.critical-stages.org\/6\/?page_id=172"},"modified":"2016-03-13T17:05:01","modified_gmt":"2016-03-13T17:05:01","slug":"editorial-comment-reviews-not-only-of-shakespeare-or-europe","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/6\/editorial-comment-reviews-not-only-of-shakespeare-or-europe\/","title":{"rendered":"Editorial Comment | Reviews Not Only of Shakespeare or Europe"},"content":{"rendered":"

Matti Linnavuori<\/strong>[1]<\/sup><\/a><\/p>\n

\"Livanuori\"<\/p>\n

Performance reviews reach new areas and new modes of writing. The first-ever review on Azerbaidjani\u00a0puppet theatre in Critical Stages comes from Aydin Talibzade.<\/p>\n

Mark Brown and Matti Linnavuori join forces in their correspondence about the festival of Baltic theatres held in Riga, Latvia.<\/p>\n

Soila Lehtonen writes about Pirkko Saisio\u2019s and Jussi Tuurna\u2019s musical HOMO!<\/em> in Finland\u2019s National Theatre. The author-director and the composer name their work \u2018an opera about odd people\u2019.<\/p>\n

From Central Europe, Sergio Lo Gatto looks at two German-Italian co-productions, of Bertolt Brecht and Ren\u00e9 Pollesch.<\/p>\n

Oltita Cintec reviews Andrei Serban\u2019s production of Hedda Gabler<\/em> in Cluj Napoca\u2019s Hungarian theatre in Romania.<\/p>\n

Judit Cs\u00e1ki writes about Robert Alf\u00f6ldi\u2019s Hamlet<\/em> in the Hungarian National Theatre.<\/p>\n

From outside of Europe, Selim Lander\u2019s article deals with a Martinique playwright Ga\u00ebl Octavia\u2019s Congre et homard<\/em>.<\/p>\n

Herv\u00e9 Guay explains the merits of Je pense \u00e0 Yu<\/em>, a Quebecoise play by Carole Fr\u00e9chette on Chinese themes.<\/p>\n

Instead of a geographical presentation, it would perhaps be even better to see the reviews section as articles about Shakespeare versus articles about playwrights other than Shakespeare. In addition to the Hungarian Hamlet, there is the Korean Tempest<\/em> directed by Oh Tae-suk and reviewed by Hyun-sook Shin.<\/p>\n

\n

\"Livanuori\"<\/p>\n

[1]<\/a> Matti Linnavuori<\/strong> (born 1955) edits the Performance Reviews Section for Critical Stages. He is a free lance theatre critic for Finnish newspaper Satakunnan Kansa. He has also written and directed radio plays for YLE Finnish Broadcasting Company.<\/p>\n

\n
\"\"<\/a>\n

Folk Tales and Puppetry Techniques Mingle in Baku<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Madeleine et la Chine<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

A Hungarian Hamlet of What ifs<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Baltic Theatre Seeks to Define Rather than Depict History<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Andrei Serban is Reshaping the Classics<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Congre et homard de Ga\u00ebl Octavia : un exercice de haute-\u00e9cole<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Fragments of a Revolutionary Discourse<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

La Temp\u00eate, un dialogue interculturel entre Shakespeare et Oh Tae-Suk<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

HOMO! A Gay Fantasy on National Themes<\/a><\/h4><\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

Matti Linnavuori[1] Performance reviews reach new areas and new modes of writing. The first-ever review on Azerbaidjani\u00a0puppet theatre in Critical Stages comes from Aydin Talibzade. Mark Brown and Matti Linnavuori join forces in their correspondence about the festival of Baltic<\/p>\n","protected":false},"author":1,"featured_media":173,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-172","page","type-page","status-publish","has-post-thumbnail","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P7kGC0-2M","_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/6\/wp-json\/wp\/v2\/pages\/172","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/6\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/6\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/6\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/6\/wp-json\/wp\/v2\/comments?post=172"}],"version-history":[{"count":0,"href":"https:\/\/www.critical-stages.org\/6\/wp-json\/wp\/v2\/pages\/172\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/6\/wp-json\/wp\/v2\/media\/173"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/6\/wp-json\/wp\/v2\/media?parent=172"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}