Editorial<\/a> | \u00c9ditorial<\/a> Section Editor: Patrice Pavis<\/strong><\/p>\n Editorial Comment<\/a> Writing the Embodied Experience: Ekphrastic and Creative Writing as Audience Research<\/a> Acts of Spectating: The Dramaturgy of the Audience\u2019s Experience in Contemporary Theatre<\/a> Public Sphere and Contemporary Performance<\/a> Postdramatic Spectatorship: Participate or Else<\/a> R\u00e9flexions sur le spectateur dans le th\u00e9\u00e2tre pr\u00e9- et postdramatique<\/a> Le point de vue du spectateur<\/a> Section Editor: Randy Gener<\/strong><\/p>\n \u201cBrave Decisions Must Develop the Artist\u201d \u2014 Interview with Bulgarian Scenic and Costume Designer Nikola Toromanov<\/a> \u201cThe Balkans are Full of Drama\u201d \u2014 Interview with Macedonian Playwright Dejan Dukovski<\/a> \u201cA Gleam in Her Eye: Language Theatre in the Visual Age\u201d \u2014 Interview with U.S. Actor and Director Barbara Oliver<\/a> \u00abL’acteur et la forme marionnettique dans le th\u00e9\u00e2tre polyphonique\u00bb \u2014 Interview avec l’acteur fran\u00e7ais, marionnettiste et metteur en sc\u00e8ne Johanny Bert<\/a> \u201cThe Playwright Must be Relevant, Proactive, and at Times Pre-empt Society\u201d \u2014 Interview with Nigerian Playwright, Director and Actor Ahmed Yerima<\/a> \u201cUnderneath All Plays are Questions about Memory and Identity\u201d \u2014 Interview with Playwright Chiori Miyagawa<\/a> \u201cWriting Can Be Torn Up, Strange, Misfit\u201d \u2014 Interview with U.S. Playwright Erik Ehn<\/a> Section Editor: Maria Helena Ser\u00f4dio<\/strong><\/p>\n Essays: Celebrating Theatre<\/a> An Overview of Theatertreffen in Berlin 2012<\/a> Les fleurs et les pleurs: A propos de l\u2019installation et du th\u00e9\u00e2tre multim\u00e9dia de Park Eunyoung<\/a> The Shadow of August Strindberg<\/a> The Fabric of Traditional Theatre: Archived Memories and the Question of Cultural Ownership<\/a> Section Editors: Mark Brown<\/strong> & Savas Patsalidis<\/strong><\/p>\n Editorial Commentary: Theatre Beyond the Theatre<\/a> Stepping off the Stage: Lu\u00eds Castro\u2019s Concept of \u201cPerfinst\u201d and his Theatre Project Karnart<\/a> The Local Theatre \u201cin Ruins\u201d<\/a> En dehors du th\u00e9\u00e2tre, au c\u0153ur du th\u00e9\u00e2tre<\/a> Theatre Beyond the Theatre: The South African Case<\/a> Re-visiting the Community: The Politics of Theatre Beyond the Theatre<\/a> Section Editor: Matti Linnavuori<\/strong><\/p>\n Editorial Notice<\/a> Estonian Theatre: Shiny Classics and Some Shaky Modernism<\/a> Verbal vs. Physical Theatre on Stage Helsinki 2012<\/a> Beyond the Clich\u00e9s of Miss Julie<\/a> B\u00e9la Pint\u00e9r Rewrites the Battles of 1848<\/a> La travers\u00e9e de l\u2019Esprit<\/a> Kukura Sets his Artistic Credo against Soap Operas<\/a> A Secret Encounter at The Shakespeare Festival in Craiova<\/a> Sibiu Stuns with Purc\u0103rete<\/a> The Live Digitizing of the Actor<\/a> The Fashion for Policy<\/a> In the Shadow of Cate Blanchett<\/a> Shakespeare on the Saint Lawrence: A Summer Romp on the US-Canadian Border<\/a> Le th\u00e9\u00e2tre de la cruaut\u00e9 comique<\/a> Laying Bridges in the Gulf<\/a> Guru Grapples with Global Concerns<\/a> Between Holograms and Special Effects, Richard Maxwell and Philippe Quesne Challenge the Audience<\/a> Avignon: mi-figue, mi-raisin<\/a> Section Editor: Don Rubin<\/strong><\/p>\n Strindberg: A Life, By Sue Prideaux, 371 pp. New Haven: Yale University Press, 2012.<\/a> Exorcism, A play in one-act by Eugene O\u2019Neill with a Foreword by Edward Albee and an Introduction by Louise Bernard, 85 pp. New Haven: Yale University Press, 2012.<\/a> Intolerable: A Memoir of Extremes, By Kamal Al-Solaylee, 205 pp. Toronto: HarperCollins, 2012.<\/a> Trans(per)Forming Nina Arsenault: An Unreasonable Body of Work, Edited by Judith Rudakoff, 264 pp. Chicago: Intellect, 2012.<\/a> Section Editor: Yun-Cheol Kim<\/strong><\/p>\n
\nYun-Cheol Kim<\/p>\n
\nSpecial Topic: The Spectator<\/a><\/span><\/h5>\n
\nPatrice Pavis<\/p>\n
\nMatthew Reason<\/p>\n
\nPeter M. Boenisch<\/p>\n
\nChristopher Balme<\/p>\n
\nRachel Fensham<\/p>\n
\nHans Thies Lehmann<\/p>\n
\nPatrice Pavis<\/p>\n
\nInterviews<\/a><\/span><\/h5>\n
\nEmil Iliev<\/p>\n
\nNelko Nelkovski<\/p>\n
\nLissa Tyler Renaud<\/p>\n
\nIr\u00e8ne Sadowska Guillon<\/p>\n
\nDr. Ngozi Udengwu<\/p>\n
\nRandy Gener<\/p>\n
\nRandy Gener<\/p>\n
\nEssays<\/a><\/span><\/h5>\n
\nMaria Helena Ser\u00f4dio<\/p>\n
\nMaria Shevtsova<\/p>\n
\nPatrice Pavis<\/p>\n
\nMargareta S\u00f6renson<\/p>\n
\nManabu Noda<\/p>\n
\nConference Papers<\/a><\/span><\/h5>\n
\nSavas Patsalidis<\/p>\n
\nMaria Helena Ser\u00f4dio (Portugal)<\/p>\n
\nMagdalena Go\u0142aczy\u0144ska (Poland)<\/p>\n
\nMichel Va\u00efs (Quebec\/Canada)<\/p>\n
\nBrent Meersman (South Africa)<\/p>\n
\nSavas Patsalidis (Greece)<\/p>\n
\nPerformance Reviews<\/a><\/span><\/h5>\n
\nMatti Linnavuori<\/p>\n
\nIan Herbert<\/p>\n
\nYun-Cheol Kim<\/p>\n
\nMihail Baykov<\/p>\n
\nJudit Cs\u00e1ki<\/p>\n
\nDaria Dimiu<\/p>\n
\nTomasz Milkowski<\/p>\n
\nMaria Z\u0103rnescu<\/p>\n
\nMatti Linnavuori and Lissa Tyler Renaud<\/p>\n
\nPrimo\u017e Jesenko<\/p>\n
\nChristine Matvienko<\/p>\n
\nKalina Stefanova<\/p>\n
\nAlvina Ruprecht<\/p>\n
\nIr\u00e8ne Sadowska-Guillon<\/p>\n
\nSavas Patsalidis<\/p>\n
\nAjay Joshi<\/p>\n
\nSergio Lo Gatto<\/p>\n
\nJean-Pierre Han<\/p>\n
\nBook Reviews<\/a><\/span><\/h5>\n
\nPatricia Keeney (Canada)<\/p>\n
\nTemple Hauptfleisch (South Africa)<\/p>\n
\nDon Rubin (Canada)<\/p>\n
\nDon Rubin (Canada)<\/p>\n
\nCritics on Criticism<\/a><\/span><\/h5>\n