{"id":285,"date":"2016-03-29T18:40:34","date_gmt":"2016-03-29T18:40:34","guid":{"rendered":"https:\/\/www.critical-stages.org\/8\/?page_id=285"},"modified":"2021-02-16T15:08:52","modified_gmt":"2021-02-16T15:08:52","slug":"contents","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/8\/","title":{"rendered":"Contents"},"content":{"rendered":"

Table of Contents<\/h1>\n

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

\n
Special Topic: Theatre in Recession<\/a><\/span><\/h5>\n

Section Editor: Savas Patsalidis<\/strong><\/p>\n

Editorial Note<\/a>
\nSavas Patsalidis<\/p>\n

Theatre in Recession: South Africa (South Africa)<\/a>
\nBrent Meersman<\/p>\n

Theater and Crisis in Argentina: The Sound and the Fury (Argentina)<\/a>
\nHalima Tahan Ferreyra<\/p>\n

Greek Theatre in the Age of Depression (Greece)<\/a>
\nSavas Patsalidis<\/p>\n

The Budget is the Thing: Spanish Theatre in Recession (Spain)<\/a>
\nNoelia Hernando-Real<\/p>\n

Finita la Commedia: The Debilitation of Hungarian Independent Theatre (Hungary)<\/a>
\nTamas Jaszay<\/p>\n

Theatre and Recession (Iceland)<\/a>
\nSveinn Einarsson<\/p>\n

In Scotland: a Victory Against the Ideology of “Creative Industries” (Scotland)<\/a>
\nMark Brown<\/p>\n

Reasons to Be Cheerful (England)<\/a>
\nIan Herbert<\/p>\n

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

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

\u00ab Mon engagement politique s’incarne dans des valeurs de l’\u00e9ducation \u00bb \u2014 Entretien avec Nicolas Lormeau, acteur et metteur en sc\u00e8ne fran\u00e7ais<\/a>
\nIr\u00e8ne Sadowska-Guillon<\/p>\n

\u201cLes armes font la guerre, mais les arts font la paix (Weapons make war, but the arts make peace)\u201d \u2014 Interview with Jean-Louis Sagot-Duvauroux, French Philosopher and Playwright<\/a>
\nRandy Gener<\/p>\n

\u201cThe Future of Indian Theatre Will Be Based on Our Ability to Intermingle With Other Art Disciplines\u201d \u2014 Interview with Deepan Sivaraman, Indian Theatre Director and Scenographer<\/a>
\nDeepa Punjani<\/p>\n

\u201cSome Strange Beast\u201d: A Painterly Designer’s Search in Paint and Text \u2014 Interview with John Warren Travis, U.S. Designer<\/a>
\nLissa Tyler Renaud<\/p>\n

\u201cI look at\u00a0William Shatner<\/em>\u00a0as a starting point to consider a post-human theatre\u201d \u2014 Interview with Phil Soltanoff, U.S. Director<\/a>
\nRandy Gener<\/p>\n

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

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

Seoul Non D\u00e9sir\u00e9e, moi Hyeseok<\/a>
\nPatrice Pavis<\/p>\n

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

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

Editorial: Tbilisi conference has lessons for the theatre throughout the world<\/a>
\nMark Brown<\/p>\n

\u201cThe Crisis Syndrome\u201d and Dr. Chekhov: A Masterpiece-Triptych by Andrei \u015eerban<\/a>
\nLudmila Patlanjoglu<\/p>\n

Journey into Deep Diversity<\/a>
\nKonrad Szczebiot<\/p>\n

Censorship and Self-Censorship in the Post-Soviet Georgian Theatre<\/a>
\nLasha Chkhartishvili<\/p>\n

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

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

Editorial Note : Following Major Directors Long-Term<\/a>
\nMatti Linnavuori<\/p>\n

Disaster Market: the Srilankan Experience<\/a>
\nAjay Joshi<\/p>\n

Jeu de ruptures<\/a>
\nIr\u00e8ne Sadowska-Guillon<\/p>\n

French Images from Caen Theatres<\/a>
\nMargareta S\u00f6renson<\/p>\n

Sc\u00e8nes de la vie de famille su\u00e9doise : Lars Nor\u00e9n et le th\u00e9\u00e2tre post-bergmanien<\/a>
\nAlvina Ruprecht<\/p>\n

Toronto\u2019s Tristan Glitters through the Canadian Opera Company\u2019s Winter Season<\/a>
\nPatricia Keeney<\/p>\n

Andrei \u015eerban\u2019s Triumph and the Power of Love<\/a>
\nLudmila Patlanjoglu<\/p>\n

Cluj Plays a Dialogue with Music<\/a>
\nAglika Oltean<\/p>\n

Sarajevo Provides a Second Opinion on Suffering \/ Sarajevo : Regards pluriels sur la souffrance<\/a>
\nMatti Linnavuori and Michel Va\u00efs<\/p>\n

No Exit, no Explanation, no Exit<\/a>
\nThomas Irmer<\/p>\n

The Beauty of Musical Eclecticism<\/a>
\nMaria Z\u0103rnescu<\/p>\n

Feeling the Fire of Flamencos in Cape Town<\/a>
\nRob Baum<\/p>\n

Theatre Occupies Ljubljana with Longing<\/a>
\nKalina Stefanova<\/p>\n

Wounded Voice, Wounded Heart: The Suppression of the Natural Voice Examined<\/a>
\nSue Klemp<\/p>\n

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

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

Journal de nuit (1978 \u2013 1984), de Jan Fabre, 232 p. Paris: L’Arche, 2012<\/a>
\nIr\u00e8ne Sadowska-Guillon<\/p>\n

Contemporary mise en sc\u00e8ne: Staging Theatre Today, By Patrice Pavis (translation into English by Jo\u00ebl Anderson), 358 pp. London and New York: Routledge, 2013<\/a>
\nPhilippe Rouyer<\/p>\n

Benedict Nightingale: Great Moments in the Theatre, by Benedict Nightingale, London: Oberon Books, 2012<\/a>
\nIan Herbert<\/p>\n","protected":false},"excerpt":{"rendered":"

Table of Contents Editorial | \u00c9ditorial Yun-Cheol Kim Special Topic: Theatre in Recession Section Editor: Savas Patsalidis Editorial Note Savas Patsalidis Theatre in Recession: South Africa (South Africa) Brent Meersman Theater and Crisis in Argentina: The Sound and the Fury<\/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-285","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P7ojFg-4B","_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/8\/wp-json\/wp\/v2\/pages\/285","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/8\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/8\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/8\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/8\/wp-json\/wp\/v2\/comments?post=285"}],"version-history":[{"count":2,"href":"https:\/\/www.critical-stages.org\/8\/wp-json\/wp\/v2\/pages\/285\/revisions"}],"predecessor-version":[{"id":621,"href":"https:\/\/www.critical-stages.org\/8\/wp-json\/wp\/v2\/pages\/285\/revisions\/621"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/8\/wp-json\/wp\/v2\/media?parent=285"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}