CRITICAL STAGES | SCÈNES CRITIQUES
IATC Webjournal | Revue web de l’AICT
Issue n.º 4 : June 2011
Special Topics: Censorship in Disguise
Randy Gener | The Struggle for a Free Theatre | Or “Long Live Belarus”
Ivan Medenica | A Revolution Sells Its Children
Andrea Tompa | Expatriates in Their Own Country
En quête d'une issue pour demain
— Entretien avec Zinnie Harris | by Irène Sadowska-Guillon
La scène de la régénération de soi
— Entretien avec Arne Lygre | by Irène Sadowska-Guillon
Irène Sadowska-Guillon | Un théâtre de la geste logoclaste: Valère Novarina
Sophie Bastien | La première version de Caligula: du texte à la scène
Tamás Jászay | The Grand Communicator:
New Projects of Árpád Schilling and The Krétakör (2008-2011)
Andrzej Żurowski | The Pope as Playwright: Karol Wojtyla
Mark Brown | Editorial: Conference Papers Section
Jean-Pierre Han | Quelques questions sur la place du critique dramatique contemporain
Blaž Lukan | New Criticism and Theatre: Transfigurations of Critical Judgment
Ivan Medenica | ‘Inter-critic’ without a Conflict of Interest
Don Rubin | Intercriticism and the Myth of Critical Distance
Zuzana Uličianska | Two Degrees of Separation
David Bukhrikidze | Goga and Goderdzi Waiting for Godot, or a Spectator of the Modern Theatre
Liu Minghou | Theatres-Audiences-Critics: Keeping Watch over Each Other
Rob Baum | The End of One Road, the Beginning of Another: Xhosa Theatre in Cape Town
Lasha Chkhartishvili | Raspberry: Censorship Makes an Artist Grow
Jean-Pierre Han | Un échantillon de théâtre iranien
Bangock Kim | Killbeth: Korean Shakespeare with Heung and Energy

Matti Linnavuori | Do the Georgians Want a War?
Mehrdad Rayani Makhsous | Zack: New Year and a New Relationship!
Aglika Oltean | Leonce and Lena from Cluj: Finally, and Gently, It Makes Sense
Maria Zărnescu | Musical Life Is Beautiful!
Qingyan Zhang | Who Kills Heiner Mueller? A Chinese Performance of Hamletmachine
Patricia Keeney | Must You Go? My Life with Harold Pinter By Antonia Fraser (Canada)
Steve Capra | Criticism and Artist Engagement
George Jean Nathan | The Critic and the Drama: “Aesthetic Jurisprudence”




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