{"id":326,"date":"2016-04-05T14:42:14","date_gmt":"2016-04-05T14:42:14","guid":{"rendered":"https:\/\/www.critical-stages.org\/9\/?page_id=326"},"modified":"2021-07-27T10:16:42","modified_gmt":"2021-07-27T10:16:42","slug":"contents","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/9\/","title":{"rendered":"Contents"},"content":{"rendered":"

Table of Contents<\/h1>\n

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

\n
Special Contribution by Georges Banu<\/span><\/h5>\n

Hommage \u00e0 Georges Banu en Roumanie<\/a>
\nGeorges Banu<\/p>\n

\n
Special Topic: Alternative Criticism?: Blogging, Tweeting, Facebook<\/a><\/span><\/h5>\n

Section Editor: Andrea Tompa<\/strong><\/p>\n

Editorial Note<\/a>
\nAndrea Tompa<\/p>\n

Two Cheers for the Internet<\/a>
\nJohn Elsom<\/p>\n

Re-negotiating Professional Criticism<\/a>
\nOtt Karulin<\/p>\n

The New Economy of Theatrical Expertise<\/a>
\nlulia Popovici<\/p>\n

The Theatrical Blogosphere in Russia<\/a>
\nPavel Rudnev<\/p>\n

British Theatre Criticism: The End of the Road?<\/a>
\nAleks Sierz<\/p>\n

Oncoming Traffic! \u2014 Theatre Criticism Online: The German Internet Platform nachtkritik.de<\/a>
\nEsther Slevogt<\/p>\n

Criticizing the End of Criticism: The Critical Genre and the Internet<\/a>
\nMih\u00e1ly Szil\u00e1gyi-G\u00e1l<\/p>\n

Mere Opinion and Considered Judgment: Amateur and Professional Criticism Today \u2014 Interview with Alisa Solomon<\/a>
\nAndrea Tompa<\/p>\n

Criticism 2.0: Benefits and Challenges of Theatre Criticism Web Sites<\/a>
\nRussell T. Warne<\/p>\n

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

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

Editorial Comment<\/a>
\nRandy Gener<\/p>\n

\u00ab Comment obtenir une pi\u00e8ce \u00e0 la fois r\u00e9aliste et stylis\u00e9e, c\u2019est la question que je me pose chaque fois \u00bb \u2014 Interview with Suzie Bastien, Quebec Playwright from Canada<\/a>
\nRandy Gener<\/p>\n

\u00ab Parce que je ne voulais pas ob\u00e9ir \u00e0 une dictature id\u00e9ologique \u00bb \u2014 Entretien avec Shabman Tolouei, com\u00e9dienne, auteure et metteure en sc\u00e8ne iranienne<\/a>
\nIr\u00e8ne Sadowska-Guillon<\/p>\n

Rooting for Indie Theatre Wherever Indie Theatre Exists \u2014 Interview with Leonard Jacobs, U.S. Journalist, Critic and Founder of Clyde Fitch Report<\/a>
\nRandy Gener<\/p>\n

\u201cA Space That Moves Beyond \u2018Gallery\u2019 or Even \u2018Installation\u2019 \u201d \u2014 Interview with Wingspace Theatrical Design (USA)<\/a>
\nRandy Gener<\/p>\n

\u201cThe Hub for the Next Generation of Morbidly-Gifted Asian American Talent\u201d \u2014 Interview with Victor Maog, U.S. Director<\/a>
\nRandy Gener<\/p>\n

\u201cTheatre Was at the Avant-Garde of Perestroika\u201d \u2014 Interview with Val\u00e9ry Shadrin, General Director of the Chekhov International Theatre Festival in Russia<\/a>
\nTiago Bartolomeu Costa<\/p>\n

\u201cTo Capture Something Out of the Air\u201d: Original Live Theatre in Los Angeles \u2014 Interview with Alicia Hoge Adams, U.S. Producer, Writer, Designer and Actress<\/a>
\nLissa Tyler Renaud<\/p>\n

\u201cWe Grow Like Rings on a Tree\u2014Outward, But Not Radically Changing Shape\u201d \u2014 Interview with Christine Evans, U.S.-based, U.K.-Australian Playwright<\/a>
\nRandy Gener<\/p>\n

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

Section Editor: Ivan Medenica<\/strong><\/p>\n

Editorial Note<\/a>
\nIvan Medenica<\/p>\n

The Seagull, directed by Oskaras Korsunovas<\/a>
\nMaria Shevtsova<\/p>\n

Dramaturgie et Postdramaturgie<\/a>
\nPatrice Pavis<\/p>\n

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

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

Editorial: Battles are Lost but Not the War<\/a>
\nSavas Patsalidis<\/p>\n

The Role of the Critic in the Transmission and Creation of Theatre (Barbados)<\/a>
\nIcil Philips<\/p>\n

La vie, le sens et la parade (Quebec)<\/a>
\nMichel Va\u00efs<\/p>\n

Can Theatre Criticism, Hit by the Crisis of Printed Media, Respond to the Complex Artistic Expressions of Contemporary Theatre? (Sweden)<\/a>
\nTheresa Bener<\/p>\n

Audience Participation and the Theatre\u2019s Role in the Age of Post-Postmodernity (Greece)<\/a>
\nSavas Patsalidis<\/p>\n

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

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

Editorial Note: Visits to a Festival near You<\/a>
\nMatti Linnavuori<\/p>\n

Decisive Chekhovian Encounters in Timi\u015foara<\/a>
\nMaria Zarnescu<\/p>\n

Whistles and Shouts in Berlin<\/a>
\nIsabella Rothberg<\/p>\n

P\u2019tite Souillure, com\u00e9die sacr\u00e9e<\/a>
\nSelim Lander<\/p>\n

La Bolivie th\u00e9\u00e2trale entre table et plateau \/ Bolivian origins on the table and on the stage<\/a>
\nJean-Pierre Han and Matti Linnavuori<\/p>\n

Labyrinth of Illusions in the City Beyond Boundaries<\/a>
\nAkiko Tachiki<\/p>\n

Cette barbarie qui nous guette<\/a>
\nIr\u00e8ne Sadowska-Guillon<\/p>\n

Nora as a Corporate Trophy<\/a>
\nMihail Baykov<\/p>\n

Everything and the Kitchen Sink: The Divadlo Festival in Plzen, Czech Republic, September 2013<\/a>
\nIan Herbert<\/p>\n

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

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

Shakespeare Beyond Doubt: Evidence, Argument, Controversy, edited by Paul Edmondson and Stanley Wells, 284 pp. Cambridge: Cambridge University Press | Shakespeare Beyond Doubt? Exposing An Industry in Denial, edited by John M. Shahan and Alexander Waugh, 254 pp. Florida: Llumina Press<\/a>
\nDon Rubin (Canada)<\/p>\n

The Cambridge Introduction to Theatre Directing, by Christopher Innes and Maria Shevtsova, 284 pp. Cambridge: Cambridge University Press<\/a>
\nJ. Herbert Close (UK)<\/p>\n

Albert Camus-Michel Vinaver : S\u2019engager ? Correspondance (1946 \u2013 1957), \u00c9dition \u00e9tablie, pr\u00e9sent\u00e9e et annot\u00e9e par Simon Chemama, 170 pp. Paris: l\u2019Arche, 2012<\/a>
\nIr\u00e8ne Sadowska-Guillon (France)<\/p>\n","protected":false},"excerpt":{"rendered":"

Table of Contents Editorial | \u00c9ditorial Yun-Cheol Kim Special Contribution by Georges Banu Hommage \u00e0 Georges Banu en Roumanie Georges Banu Special Topic: Alternative Criticism?: Blogging, Tweeting, Facebook Section Editor: Andrea Tompa Editorial Note Andrea Tompa Two Cheers for the Internet<\/p>\n","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-326","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P7qGXm-5g","_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/9\/wp-json\/wp\/v2\/pages\/326","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/9\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/9\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/9\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/9\/wp-json\/wp\/v2\/comments?post=326"}],"version-history":[{"count":3,"href":"https:\/\/www.critical-stages.org\/9\/wp-json\/wp\/v2\/pages\/326\/revisions"}],"predecessor-version":[{"id":607,"href":"https:\/\/www.critical-stages.org\/9\/wp-json\/wp\/v2\/pages\/326\/revisions\/607"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/9\/wp-json\/wp\/v2\/media?parent=326"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}