{"id":276,"date":"2016-03-17T18:01:30","date_gmt":"2016-03-17T18:01:30","guid":{"rendered":"https:\/\/www.critical-stages.org\/7\/?p=276"},"modified":"2022-05-22T10:55:36","modified_gmt":"2022-05-22T10:55:36","slug":"the-local-theatre-in-ruins","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/7\/the-local-theatre-in-ruins\/","title":{"rendered":"The Local Theatre \u201cin Ruins\u201d"},"content":{"rendered":"

Magdalena Go\u0142aczy\u0144ska<\/strong>[1]<\/sup><\/a><\/p>\n

\"1321166583\"<\/p>\n

In the Lower Silesian theatre of the early 21st century the directors from Wroclaw and Legnica create their own \u201csite specific theatre,\u201d beyond the institutional theatres and recognized cultural centres. These are places far from the velvet seat elegance of the freshly refurbished theatres. The directors and stage designers take the audiences to the \u201cno go\u201d districts, searching for their \u201cgenius loci,\u201d maintaining an aura of mystery, inspiring for themselves and fascinating for the spectators. I call it \u201clocal\u201d theatre because both the choice of locations and subjects are closely linked to the history of the community and the creation of local identity. The notions of \u201clocal\u201d and \u201clocalism\u201d come from the Latin word localis<\/em> meaning \u201ca specific place or localization in a broader space. Thus, local is the same as domestic, located in a specific space or assigned to a specific site\u201d (Szczepa\u0144ski, 2005: 122). The site is then bound to a definite architectural landscape and specific community of local inhabitants.<\/p>\n

One of the best examples of local involvement is the Legnica Modrzejewska Theatre, where Jacek G\u0142omb described his beyond-the-theatre activities as \u201cthe theatre in ruins.\u201d Before the 1st<\/sup> edition of the \u201cMiasto\u201d (City) Festival in 2007 he explained: \u201cWe enter various spaces; from an old factory hall, through the collapsing cinema building, medieval church, ruined theatre hall, to the castle yard. (\u2026) It is not about the slick \u2018ruin staging,\u2019 or recently fashionable going outside the theatre buildings, but about a conscious choice of stage location, where the plot of the play will be inseparably linked to the surrounding space\u201d (G\u0142omb 2007).<\/p>\n

One of the most interesting \u201coutside\u201d productions in Legnica was \u0141emko <\/em>(2007), which belongs to a series of Modrzejewska Theatre plays dealing with local history.<\/p>\n

After World War II, the village of Miko\u0142ajowice near Legnica was inhabited by the resettled Lemko people. The Lemko are an Eastern Slavic ethnic group, which before 1947 populated the area of south-east Poland (i.e. Low Beskid, Bieszczady Mountains). They were forced to resettle in the so-called Recovered Territories during the Operation Vistula, as they were accused\u2014in many cases unjustly\u2014of collaboration with the Ukrainian guerillas. Also, for many Polish people, Lemkos and Ukrainians were the same. G\u0142omb confronted great historic events through private individual dramas, showing how the World War II conflict between the large armies of Germany and Russia influenced the average civilian. The war had completely changed the state borders of Lower Silesia. For Legnica audiences, the production of Lemko<\/em> was another step in discovering the multicultural past of the region, so often present in G\u0142omb performances.<\/p>\n

Lemko dramas were staged in a desolate hall on Kartuska Street in the Zakaczawie district. Before World War II, it was actually a German music-hall theatre. In Glomb\u2019s Lemko<\/em>, it is a brick post-German era house, the site where the protagonist\u2014Orest\u2014resettles. The theatrical space has been cleverly used by the designer, Ma\u0142gorzata Bulanda, who \u201ccluttered\u201d it with numerous damaged farming items, such as ladders, wagon wheels or barrels, and the entire floor with simple rough planks. The action unfolded on two levels\u2014the lower (the house and village) and the upper in the gallery (the office, the ancestors\u2019 dwelling). The play deals with the issues of homesickness, the left-behind motherland, the disintegration of the Lemko community and the destruction of their cultural and religious heritage. The Lemko were subject to pressure, both from the Soviet soldiers and from the Polish and Ukrainian officials. Orest\u2019s cry, \u201cI want to belong to myself. I want to stay here,\u201d pretty much sums it all up for us. It is obvious that he does not want to get involved. \u201cThe time has come, when you can\u2019t be yourself,\u201d he adds resignedly. He resettles to Miko\u0142ajewice (Recovered Territories) and his property, which was confiscated in his home village, cannot be regained even after the fall of communism.<\/p>\n

\""Made
“Made in Poland” Teatr im. Modrzejewskiej, Legnica. Actors: Eryk Lubos, Janusz Chabior. Photo: Tomasz Augustyn<\/figcaption><\/figure>\n

Another play, of a completely different character, is Made in Poland<\/em> (2004) by Przemys\u0142aw Wojcieszek, staged in a specific sort of \u201cruins\u201d\u2014the tower block built during the period of the People\u2019s Republic of Poland, in the largest Legnica housing district, called Piekary, another dodgy area of the town. It was erected in the 1970s, as a grid of similar tower blocks. These \u201cconcrete deserts,\u201d fostering the development of social pathology, were sites that overwhelmed their residents, who stayed there out of necessity and felt they were occupying their flats temporarily, rather than living in them permanently. In this huge neighborhood you can spot some behaviors typical of big city dwellers. As Simmel soundly observes, \u201cthe spiritual attitude of the residents towards one another can be formally described as reserved (\u2026) with the hint of hidden dislike\u201d (2005: 309-310). The play, written and directed by Wojcieszek, was then staged beyond the theatre, in the Piekary district, presenting the local community \u201chere and now\u201d in the early 21st<\/sup> century, with a young unemployed anarchist as the protagonist. The play combines some features we recognize as universal, such as: the limited perspectives and individual development in a small town, unemployment, the aggression of Polish youths, or \u201cyobbos\u201d (in Poland nearly 20 million people live in blocks) as well as certain local characteristics\u2014typical for Legnica when it is the site (when he shows the actual Piekary district). The production, however, can be classified as an example of \u201csite generic theatre,\u201d as it has also been successfully staged in other similar housing districts.<\/p>\n

In this production, the action took place in front of the building of a large shop (once a supermarket and a pharmaceutical warehouse), at the car park, and then inside the shop, where the audience was seated. Thanks to glass walls, the viewers were able to watch the outside events, while the passers-by could, at least temporarily, join the audience. The viewers remembered the first scene best, when they were still standing in front of the shop. The rebellious yobbo, Bogu\u015b, set fire to the garbage can and shouted: \u201cUp, motherfuckers, up! Time for revolution! Up!\u201d Both the actors occupying one of the flats, and the real residents, tried to chase the trouble-maker away, while he ran around with a metal baseball bat, broke the window of a parked car and jumped on its bonnet, destroying it. The audience could see the spaces between buildings, and a car park with a burning garbage can. After this dynamic introduction, the viewers took their seats inside the shop building, divided into three sections, two opposite, and one on the side. Theatrical activities took place in the center of the main hall, in the side room, where a car\u2014a mobile scenery element\u2014was kept, and at the back, under the balcony. Through the glass wall, the spectators could watch the outside shopping area and see the surrounding blocks. The warehouse served as the characters\u2019 flats, where the warehouse racks, full of boxes, served as symbolic furniture. Bogu\u015b\u2019s flat lacked a solid table, a very common stage element of Polish theatrical houses.<\/p>\n

\""Made
“Made in Poland” Teatr im. Modrzejewskiej, Legnica. Actors: Eryk Lubos, Janusz Chabior. Photo: Tomasz Augustyn<\/figcaption><\/figure>\n

Legnica yobbos are well aware of the mediocrity of their existence and of what it means to be condemned to the \u201cconcrete deserts.\u201d To own a house is their distant, almost impossible dream. According to Bogu\u015b\u2019es Polish language teacher (another protagonist), an alcoholic, a flat in a block is a \u201cno-home,\u201d a sort of anti-model of a home. \u201dDo you know?\u201d he asks Bogu\u015b, \u201cthat there are some places without blocks in this country? Can you imagine that? Have you ever seen a house, a regular one? With four walls, two stories and a chimney? (\u2026) There is another world, another life somewhere.\u201d At the same time, next to the urban losers, Wojcieszek showed us the heartless local businessmen clashing with Bogu\u015b (who unknowingly destroyed a Lexus belonging to their boss, Fazi). The conflict gets solved, quite incredibly, thanks to the intervention of the priest and the involvement of Bogu\u015b mother. The rebel himself, in turn, finds love and happiness. The final scene is another example of going \u201cbeyond the theatre\u201d\u2014a special recording by Krzysztof Krawczyk (an older-generation pop star), with wishes for the happiness of Legnica spectators, and his song Nie jeste\u015b sam<\/em> (You are not alone<\/em>) projected on the wall of one of the neighboring blocks. In fact, it turns out that the urban loneliness of the Made in Poland<\/em> characters is rather illusory. Friends and neighbors help one another in difficult situations and find support in their idol\u2019s words.<\/p>\n

The premiere of Made in Poland<\/em> in Piekary was one of the numerous city-oriented actions of the Legnica theatre; it contributed to the creation of a new stage on the outskirts of town and reinforced the identification of the residents with their environment. Thus, it played a crucial social role. Similarly, there was a production about contemporary rebelliousness at the German Bochum Schauspielhaus. The play was directed by another Polish director, Jan Klata, and was based on Friedrich Schiller\u2019s Die R<\/em>\u01df<\/em>uber <\/em>(2012). <\/em>Klata showed a group of today\u2019s European city inhabitants\u2014football hooligans\u2014clashing with the law, and he also showed the mechanism of aggression. Both Die R<\/em>\u01df<\/em>uber <\/em>and Made in Poland <\/em>are examples of social theatre, a kind of new Zeittheater. However Klata did not try to create a \u201cpositive\u201d theatre that would reinforce the locals.<\/p>\n

A somewhat different \u201ctheatre in ruins\u201d was created in Wroclaw by Maciej Masztalski and his independent Ad Spectatores Theatre, in the basement of the Wroclaw Main Railway Station. As Anna Zajdler-Janiszewska notes, each station \u201chas its own mythology, created by its regulars, travelers and one-time visitors (\u2026)\u201d (1999: 91-92), adding that a station can become a peculiar \u201ccity within the city.\u201d At the same time, railway stations are spaces exceptionally adverse to interpersonal contact; therefore the actors had to overcome their prejudices against the station and get used to it at a deep level. Ultimately, in the station basement Ad Spectatores Small Stage was created, consisting of several low, connecting rooms with brick ceilings and exposed piping. The auditorium was a collection of folding chairs and random stools. In this way the team joined the quite \u201cfringe\u201d theatre, described to me by one of the Edinburgh Festival critics as \u201cthe theatre with uncomfortable seats.\u201d<\/p>\n

On this stage Masztalski realized three original low-budget parts: Historia<\/em> [History] (2004), Historia II<\/em> (2006) and Historia III<\/em> (2008), with the action moving. The viewers walked from one room to another, guided by odd-looking, scatterbrained Raisonneurs through the dark, narrow underground labyrinths, where each place hid a mysterious \u201cstory.\u201d Even though Wroclaw is not mentioned directly in the plays, the characters referred to the building\u2019s past and recalled names familiar to Wroclaw residents. The guiding Raisonneur drew the viewers\u2019 attention to the solidity of the surrounding post-German era basement walls, saying: \u201cLadies and gentlemen, see how they used to build in the old days\u2026.\u201d And then a warning followed: \u201cMind the antique pipe!\/ gothic chair!\u201d The plays, full of absurd dialogue and black humor, included scenes from various times and places. \u201cEach place may have its own history,\u201d write the authors. \u201cIn many cases it is self-created from real events, remembered clearly by witnesses, which distinguish one place from many others. What happens, however, if no such events ever occurred? Well, we can always create our own histories, which will then grow into legends and be passed on to the next generations.”<\/p>\n

\"MG-
MG- “Historia I” Teatr Ad Spectatores, Wroclaw. Actor: Pawel Kutny. Photo: Maciej Masztalski<\/figcaption><\/figure>\n

Masztalski\u2019s Historia<\/em> is a bluff full of humorous myth creations; none of them is really linked to the history of the city or the space where they are presented. Yet, they refer to widespread rumors of the station\u2019s secret underground halls and tunnels (supposedly holding precious Nazi treasures). At the same time, the plays include a number of ironic motifs directed at himself. For example, Masztlski mocks the theatrical realization of the \u201csmall homeland\u201d idea\u2014an idea that was treated seriously by his company in another play; or he ridicules, elsewhere having supported, the concept of environmental theatre.<\/p>\n

Another Ad Spectatores production, Biskupi z Biskupina i partyzanci z Oporowa targaj\u0105 Tarnogaj<\/em> [Bishops from Biskupin and Partisans from Oporow assault Tarnogaj] (2009), was set in a very attractive beyond-the-theatre space, which is Wroclaw City Council Session Hall, used for conferences, but closed to the public. The choice of this site created added interest for the spectators, as they were allowed to visit a prestigious space they may have otherwise known only from TV. The hall is located in the so-called New Town Hall in the Old Market Square (this local theatre is not \u201cin ruins\u201d)\u2014the neo-gothic symbol of the metropolis of the 1860-1864 period. The recent spectacular renovation of Market Square, conducted in the 1990s, turned these sites and buildings into a showcase for Wroclaw.<\/p>\n

The performance by Ad Spectatores (written and directed by Maciej Masztalski) is one of the episodes of the theatrical series dedicated to the city, called The Meeting Place<\/em>. The Polish title Biskupi z Biskupina\u2026 <\/em>is a kind of word play on the names of three Wroclaw districts, and an indication of the joyful atmosphere of the performance, but it has no connection with its subject matter. Before the premiere, Masztalski claimed that he did not intend to create an intervention play or to criticize the local authorities, so apparently the performance had only few references to actual situations and these were but subtle hints. The title \u201cThe Meeting Place\u201d was the popular tourist slogan used by Wroclaw authorities for city promotion, referring to its multicultural history (in the past Wroclaw was successively a Polish, Czech, Austrian, Prussian and German city, and also a city with a large Jewish community).<\/p>\n

\"Biskupi
Biskupi – “Biskupi z Biskupina” Teatr Ad Specatores, Wroclaw. Actors: Aleksandra Dytko, Jedrzej Taranek. Photo: M. Masztalski<\/figcaption><\/figure>\n

During the performance the spectators were seated in the city council chairs. The plot was based on the idea of a competition between the Wroclaw Mayor and the Dolno\u015bl\u0105skie Voivodeship Marshal, who were presented as \u2026 two pop singers opponents. The Mayor was preparing to release his new record, and the news about this project was slipped to the media and to the Marshal\u2019s Office. The action was set in several sites of the session hall (at the presidium table, between the council chairs) which remained unchanged, and the virtual space. The green and brown d\u00e9cor of the session hall was traditional and elegant, with massive leather and wooden armchairs, desktops and high windows with thick curtains. The rows of armchairs and the presidium table surrounded the central space, as if creating a small studio stage in the middle. The new Wroclaw coat of arms hung above the presidium table; below, the authors placed the emblem of Dolno\u015bl\u0105skie Voivodeship.<\/p>\n

The production by Marszalski and his group was a kind of statement by citizens of the young generation. It mocked the absurdity of the current bureaucracy, present day bans and orders, the surprising priorities of the regional polices incomprehensible for ordinary citizens. The authors skillfully presented the significance of modern media and technologies: both the Mayor and the Marshal communicate with their teams only by means of videoconferencing (actually the broadcasts\u2014DVD recordings\u2014were displayed on two large screens in the hall), so they were distant and separated, present and absent at the same time. In this way the authors not only showed the \u201ctechnopoly\u201d supporters\u2019 mentality, but also solved a cast problem: popular actors, also performing in other companies, appeared in the displayed films. Other important news was presented to the audience by the \u201clocal radio\u201d (recordings). Both the present day and the past were ridiculed. Most important for the authorities were their musical and artistic activities, so that tasks of real significance, such as construction of the city\u2019s ring road (Wroclaw is well known for its heavy traffic and obsolete traffic solutions) became only secondary. While laying out the new road, the Mayor was assisted by the ghost of Boles\u0142aw Drobner , the first post-war city president and socialist activist. He appeared about midnight and demanded pay for his assistance and, after a long haggle, he accepted 600 USD cash in hand, regretting that the spectacular project could not be completed today by the \u201cpolitical prisoners\u201d (as this would have been much more economical). Drobner\u2019s support was also requested by the left-wing Council members (as they assumed that he should have advised them, and nobody else!). The modern Mayor persistently, and out of habit rather than for ideological reasons, used the former, socialist-imposed names of Wroclaw streets\u2014changed after 1989\u2014(e.g. \u015awierczewski Street, Dzier\u017cy\u0144ski Square). This did not, however, arouse any sentimental nostalgia for the past system, but rather caused confusion between the Mayor and his younger associates, and probably confused the majority of the spectators, accustomed to the topographical names currently used. Masztalski mocked both the old historical policy of the socialist governments\u2019 referring to the so-called Recovered Territories, and the current out-sized deference for German cultural traces. One radio news program reported: \u201cBerlin University has questioned the truthfulness of the 1950s Wroclaw propaganda slogan, that \u2018here even the stones spoke Polish\u2019 [That was original 1950s popular propaganda slogan, created and used to justify Polish claims and presence in Recovered Territories] (\u2026) The University Chancellor, quoting the recent scientific research results, questioned the stones\u2019 ability to speak at all. \u2018Science\u2019 magazine hesitated whether to publish the controversial revelations.\u201d<\/p>\n

With regard to the present day authorities, they are ambitious and want to turn Wroclaw into a modern, tolerant European city (often against their own beliefs), well-known and well-regarded throughout the world. To achieve this, they make an effort to host some major events or to construct some spectacular monuments. To this purpose, they accepted the absurd suggestion by the secret Lower Silesian Masonic Lodge to build a gigantic statue of a mason. His \u201cleft foot would stand next to the cathedral, in Ostr\u00f3w Tumski, and right \u2013 ca. 200 meters from the Opatowice Weir. The height: half a kilometer (\u2026) The compass is to be 2.5 tons, cast of bronze (\u2026). In his right hand he would hold a triangle, providing a pleasant shadow for Market, downtown and R\u00f3\u017canka\u201d (different districts of the city). The statue could be a good solution for the hot days and a way of increasing Wroclaw\u2019s chance of becoming the European Capital of Culture in 2016 (the title was actually granted to Wroclaw 2 years after the premiere). The only \u201csmall inconvenience\u201d would be the air traffic ban over the city. The action was complemented by a slideshow of popular city views and spaces: the Market Square, dwarves (a touristic symbol of the city), railway station, and bridges. Biskupi z Biskupina<\/em>\u2026 is an example of the \u201cbeyond-the-theatre\u201d production staged in a historical space, which prompted the authors to create a performance in which the history was confronted, in an amusing way, with the current city and community problems.<\/p>\n

Why is it then, that the contemporary directors go \u201cbeyond the theatre?\u201d It is obvious that they are looking for new artistic inspirations to broaden the theatre’s social and cultural borders, following the modern trends of cultural decentralization. When a theatre production appears in a \u201cdangerous\u201d district, then not only does the very site or street lot play a new role, but the entire district does, with its local community (whose members very often join the audience). By creating theatrical sites \u201cbeyond the theatres,\u201d and staging plays in such surroundings, a local awareness is built among the authors and spectators, reinforced by their connection with the given environment. A new cultural memory is developed, essential for the continuity of the history of these sites. For the spectators the performance may be a spark of thought about their time and place. Moreover it may be important as a specific theatrical experience, and also as a part of the cultural identify with the actual place.<\/p>\n

In the \u201cbeyond the theatre\u201d one can imagine various types of spectators: those who come to the theatre by accident, and those, for whom the performance becomes something special. For the latter group, the space where they saw the performance will always bear the traces of new people and events\u2014the authors and their creation. This way the minor, personal, local history of a single spectator is enriched by new motifs and experiences, and the place gains a new dimension. Besides, in many cases the theatrical sites \u201cbeyond the theatre\u201d are given a new value and significance among the local community. This was not only the case for the Legnica Piekary stage in the commercial warehouse, or the Wroclaw railway station stage used by Ad Spectatores Theatre, Legnica City Festival, but for many other suburban cases. After the first productions the companies managed to create new, dynamic, alternative culture centres, beyond the well-established cultural institutions. These new centers are later on used not only for theatrical activities, but also for a number of other educational and cultural projects. In this way, many local theatres and places play very significant culture-forming roles in their communities.<\/p>\n

Bibliography<\/strong><\/p>\n

G\u0142omb, Jacek, O teatrze, kt\u00f3rego scen\u0105 jest Miasto<\/em>, festival catalogue, Legnica: 2007.<\/p>\n

Simmel, Georg, Socjologia. <\/em>Warszawa: PWN, 2005.<\/p>\n

Szczepa\u0144ski, Marek S., Spo\u0142eczno\u015bci lokalne i regionalne a \u0142ad kontynentalny i globalny<\/em>, in Kr\u0119gi integracji i rodzaje to\u017csamo\u015bci. Polska, Europa, \u015bwiat,<\/em> ed. Weso\u0142owski W\u0142odzimierz. Warszawa: Scholar, 2005.<\/p>\n

Zeidler-Janiszewska, Anna, Pisanie miasta, czytanie miasta.<\/em> Pozna\u0144: Wyd. Fundacji Humaniora, 1997.<\/p>\n

\n

\"1321166583\"<\/p>\n

<\/a>[1] Magdalena Go\u0142aczy\u0144ska<\/strong> holds a doctorate in theatre from Uniwersytet Wroc\u0142awski, where she teaches. She has published the Teatr alternatywny w Polsce po 1989: 2002<\/em> (about Polish alternative). She also collaborated with \u201cSEEP,\u201d \u201cNotatnik Teatralny.\u201d<\/p>\n

Copyright \u00a9<\/strong> 2012 Magdalena Go\u0142aczy\u0144ska
\nCritical Stages\/Sc\u00e8nes critiques<\/em> e-ISSN: 2409-7411<\/p>\n

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

This work is licensed under the
\nCreative Commons Attribution International License CC BY-NC-ND 4.0.<\/p>\n","protected":false},"excerpt":{"rendered":"

Magdalena Go\u0142aczy\u0144ska[1] In the Lower Silesian theatre of the early 21st century the directors from Wroclaw and Legnica create their own \u201csite specific theatre,\u201d beyond the institutional theatres and recognized cultural centres. These are places far from the velvet seat<\/p>\n","protected":false},"author":1,"featured_media":281,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[5],"tags":[],"class_list":["post-276","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-conference-papers","","tg-column-two"],"jetpack_featured_media_url":"https:\/\/www.critical-stages.org\/7\/wp-content\/uploads\/sites\/9\/2016\/03\/1321166583.jpg","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p7moa7-4s","_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/7\/wp-json\/wp\/v2\/posts\/276","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/7\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.critical-stages.org\/7\/wp-json\/wp\/v2\/types\/post"}],"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=276"}],"version-history":[{"count":1,"href":"https:\/\/www.critical-stages.org\/7\/wp-json\/wp\/v2\/posts\/276\/revisions"}],"predecessor-version":[{"id":824,"href":"https:\/\/www.critical-stages.org\/7\/wp-json\/wp\/v2\/posts\/276\/revisions\/824"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/7\/wp-json\/wp\/v2\/media\/281"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/7\/wp-json\/wp\/v2\/media?parent=276"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.critical-stages.org\/7\/wp-json\/wp\/v2\/categories?post=276"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.critical-stages.org\/7\/wp-json\/wp\/v2\/tags?post=276"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}