{"id":496,"date":"2016-03-19T13:23:42","date_gmt":"2016-03-19T13:23:42","guid":{"rendered":"https:\/\/www.critical-stages.org\/7\/?page_id=496"},"modified":"2016-03-19T13:23:42","modified_gmt":"2016-03-19T13:23:42","slug":"interviews","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/7\/interviews\/","title":{"rendered":"Interviews"},"content":{"rendered":"
\"\"<\/a>\n

\u201cBrave Decisions Must Develop the Artist\u201d \u2014 Interview with Bulgarian Scenic and Costume Designer Nikola Toromanov<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

\u201cThe Balkans are Full of Drama\u201d \u2014 Interview with Macedonian Playwright Dejan Dukovski<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

\u201cA Gleam in Her Eye: Language Theatre in the Visual Age\u201d \u2014 Interview with U.S. Actor and Director Barbara Oliver<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

\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><\/h4><\/div><\/div>\n
\"\"<\/a>\n

\u201cThe Playwright Must be Relevant, Proactive and at Times Pre-empt Society\u201d \u2014 Interview with Nigerian Playwright, Director and Actor Ahmed Yerima<\/a><\/h4><\/div><\/div>\n
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\u201cUnderneath All Plays are Questions about Memory and Identity\u201d \u2014 Interview with U.S. Playwright Chiori Miyagawa<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

\u201cWriting Can Be Torn Up, Strange, Misfit\u201d \u2014 Interview with U.S. Playwright Erik Ehn<\/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":{"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-496","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P7moa7-80","_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/7\/wp-json\/wp\/v2\/pages\/496","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/7\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/7\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/7\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/7\/wp-json\/wp\/v2\/comments?post=496"}],"version-history":[{"count":0,"href":"https:\/\/www.critical-stages.org\/7\/wp-json\/wp\/v2\/pages\/496\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/7\/wp-json\/wp\/v2\/media?parent=496"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}