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Table of Contents

Editorial

Yun-Cheol Kim (Korea) | Editorial
Yun-Cheol Kim (Korea) | Éditorial


Interviews: Theatre Practitioners on Criticism (Section Editor: Yun-Cheol Kim)

Yun-Cheol Kim (Korea) | Editorial Note

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Give Advice! Be a Political Journalist! ━ Interview with Finnish dramaturge Juha-Pekka Hotinen, by Matti Linnavuori (Finland)

New Media: An Energetic Virtual Conference? ━ Interview with Ellen Margolis, playwright, director; Chair of Theatre, Pacific University, by Lissa Tyler Renaud (U.S.)

Contributing to the Culture ━ Interview with Tony Taccone, Artistic Director, Berkeley Repertory Theatre; playwright, by Lissa Tyler Renaud (U.S.)

A la recherche du regard pluriel ━ Entretien avec Yannis Leontaris, par Savas Patsalidis (Greece)

Mats Ek: On Criticism ━ Interview with choreographer and director Mats Ek, by Margareta Sörenson (Sweden)

Our Critics are Confounded and Resigned ━ Interview with Róbert Alföldi, ex-director of the Hungarian National Theatre, actor, director, by Judit Csáki (Hungary)

Interview with Jean Lambert-wild, director of Comédie de Caen, by Yun-Cheol Kim (Korea)

Interview with Jonathan Mills, director of Edinburgh International Festival, by Yun-Cheol Kim (Korea)

“Theatre forms the core around which dialogue develops”— Interview with Oriza Hirata, by Manabu Noda (Japan)

Quatre questions à Robert Lepage sur la critique, by Michel Vaïs (Canada)

 

Special Topics: mise en scène (Section Editor: Patrice Pavis)

Patrice Pavis (France) | Dossier sur la mise en scène

Manuel Garcia-Martinez (Spain) | Mise en scène et temps : La mise en scène du temps de Jacques Lassalle

Konstantin Iliev (Bulgaria) | Arithmétique théâtrale : l’auteur et le metteur en scène

Mischa Twitchin (U.K.) | Mise en scène: Beckett’s “Field of Memory”

Izabella Pluta (France) | Sur l’impact de la vidéo dans les dernières mises en scène de Krystian Lupa. La question du screen test

Lee Young-Seok (Korea) | Coming Up for Air: Director’s Afterword

Katalin Trencsényi (Hungary) | Dramaturgy and mise en scène

Peter M. Boenisch (Germany) | The Play of Regie: Some Notes on a New Theory of Regie, Prompted by Contemporary Directions in German “Directors’ Theatre”

Patrice Pavis (France) | Réflexions sur la mise en scène contemporaine

 

Essays (Section Editor: Ivan Medenica)

Ivan Medenica (Serbia) | Editorial : Le théâtre francophone postcolonial

Irène Sadowska-Guillon (France) | Quelques aspects néocolonialistes de la francophonie théâtrale

Irène Sadowska-Guillon (France) | L’art de dealer avec le diable – Entretien avec Dieudonné Niangouna, artiste associé du Festival d’Avignon 2013

Jean-Pierre Han (France) | Manifestations francophones

Alvina Ruprecht (Canada) | Théâtre Caraïbe – Le Répertoire : Projet sur la dramaturgie postcoloniale de la Caraïbe

Tanya Déry-Obin (Canada) | Les tensions en jeu : les théories postcoloniales et le théâtre québécois

Georges Banu (Romania) | Un théâtre sous haute tension
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Conference Papers (Section Editor: Savas Patsalidis)

Savas Patsalidis (Greece) | Editorial Note: Reviewing in the Age of the New Empire

Matti Linnavuori (Finland) | The Critic Waves Goodbye to the Middle Class

Cristina Modreanu (Romania) | Reinventing Theater Criticism: An Intensification of the Possibility of Truth

Manabu Noda (Japan) | “Aren’t you even dead yet?” ━ Theatre Criticism and Cultural Ownership


Performance Reviews (Section Editor: Matti Linnavuori)

Matti Linnavuori (Finland) | Editorial Note: Theatre Follows Football

Irène Sadowska-Guillon (France) | Cet amour sacré du ballon rond

Isabella Rothberg (Finland) | Girlpower and Horsepower in German Theatre

Ajay Joshi (India) | An Insight into the Transgender Community in India

Maria Zărnescu (Romania) | Georgian Unity in the Diversity of Show Forms

Michel Vaïs (Canada) | L’essor du théâtre en Azerbaïdjan

Maryam Alizade (Azerbaijan) | A Sad Comedy, Dressed in White

Anneli Saro (Estonia) | Sofi Oksanen’s Doves Take a Surprising Twist

Soila Lehtonen (Finland) | After Us, the Deluge / Après nous, le déluge

Mehrdad Rayani-Maksous (Iran) | Guns and Rock’n’roll in Tehran

Ian Herbert (U.K.) | Crime, But Not Much Punishment in Bratislava

Ludmila Patlanjoglu (Romania) | An Elite Festival: National Companies Play their Classics

Halima Tahan Ferreyra (Argentina) | Swedish Word Games and Identity Dramas

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Christine Matvienko (Russia) | Fear and Responsibility Eat Moscow

Emiliya Dementsova (Russia) | Eugene Onegin: An Ordinary Miracle

Zala Dobovšek (Slovenia) and Matti Linnavuori (Finland) | Contours of Losses in Sarajevo

Mark Brown (U.K.) | A Fitting Tribute to Joaquim Benite

Selim Lander (Martinique) | Metteur en scène et auteur, une confusion risquée

Wendy Rosenfield (U.S.) | Everything Old is New Again


Book Reviews (Section Editor: Don Rubin)

Don Rubin (Canada) | Refereeing the Muses: A Theater Criticism/Arts Journalism Primer, By Bob Abelman and Cheryl Kushner, 271 pp. New York and Frankfurt: Peter Lang

David Littlejohn (U.S.) | Molière On Stage: What’s So Funny?, By Robert W. Goldsby, 222 pp. New York and London: Anthem Press

Nikolai Pesochinsky (Russia) | Yevgeny Vakhtangov: A Critical Portrait, By Andrei Malaev-Babel, 278 pp. London and New York: Routledge

Philippe Rouyer (France) | Politiques du spectateur : Les enjeux du théâtre politique aujourd’hui, Par Olivier Neveux, 275 p. Paris : La Découverte

Alvina Ruprecht (Canada) | Performing Exile, Performing Self, By Yana Meerzon, 350 pp. London: Palgrave Macmillan

Patrice Pavis (France) | Flucht nach vorne. Gesprochene Autobiografie und Materialien, by Andrzej Wirth, Spector Books Leipzig, 2013.


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