{"id":16224,"date":"2022-04-08T15:30:07","date_gmt":"2022-04-08T13:30:07","guid":{"rendered":"https:\/\/wp.unil.ch\/ateliercritique\/?page_id=16224"},"modified":"2025-02-11T11:04:49","modified_gmt":"2025-02-11T10:04:49","slug":"l-abri-geneve","status":"publish","type":"page","link":"https:\/\/wp.unil.ch\/ateliercritique\/theatres-partenaires\/l-abri-geneve\/","title":{"rendered":"L&rsquo; Abri (Gen\u00e8ve)"},"content":{"rendered":"\n<figure class=\"wp-block-image size-large is-resized\"><img alt=\"\" loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/wp.unil.ch\/ateliercritique\/files\/2022\/04\/Abri_slimeLOGO_flamingo-1024x768.png\" alt=\"\" class=\"wp-image-16225\" style=\"width:300px\" srcset=\"https:\/\/wp.unil.ch\/ateliercritique\/files\/2022\/04\/Abri_slimeLOGO_flamingo-1024x768.png 1024w, https:\/\/wp.unil.ch\/ateliercritique\/files\/2022\/04\/Abri_slimeLOGO_flamingo-267x200.png 267w, https:\/\/wp.unil.ch\/ateliercritique\/files\/2022\/04\/Abri_slimeLOGO_flamingo-227x170.png 227w, https:\/\/wp.unil.ch\/ateliercritique\/files\/2022\/04\/Abri_slimeLOGO_flamingo-768x576.png 768w, https:\/\/wp.unil.ch\/ateliercritique\/files\/2022\/04\/Abri_slimeLOGO_flamingo-1536x1151.png 1536w, https:\/\/wp.unil.ch\/ateliercritique\/files\/2022\/04\/Abri_slimeLOGO_flamingo-2048x1535.png 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\">Critiques par spectacles jou\u00e9s dans ce th\u00e9\u00e2tre<\/h4>\n\n\n\n<div class=\"wp-block-query is-layout-flow wp-block-query-is-layout-flow\"><ul class=\"wp-block-post-template is-layout-flow wp-block-post-template-is-layout-flow\"><li class=\"wp-block-post post-16478 post type-post status-publish format-standard has-post-thumbnail category-critique category-expired category-l-abri category-spectacle tag-julie-fievez\">\n<h6 class=\"liensouligne wp-block-post-title\"><a href=\"https:\/\/wp.unil.ch\/ateliercritique\/2022\/11\/festival-emergientia-geneve\/\" target=\"_self\" >Festival Emergentia Gen\u00e8ve<\/a><\/h6>\n\n<div class=\"wp-block-post-excerpt\"><p class=\"wp-block-post-excerpt__excerpt\">La fine di tutte le cose &#8211; l\u2019inizio di tutte le altre \/ Chor\u00e9graphie et interpr\u00e9tation d\u2019Emma Saba \/\/ How do I \/ Conception et interpr\u00e9tation de Lisa Laurent \/\/ Cachalotte \/ cr\u00e9ation du collectif Ouinch Ouinch \/ Festival Emergentia\u2026 <\/p><\/div>\n\n\n<div style=\"height:1px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n<\/li><li class=\"wp-block-post post-16201 post type-post status-publish format-standard has-post-thumbnail category-critique category-expired category-l-abri category-spectacle tag-isabelle-fasnacht tag-stella-wohlers\">\n<h6 class=\"liensouligne wp-block-post-title\"><a href=\"https:\/\/wp.unil.ch\/ateliercritique\/2022\/04\/crudo-y-pesado\/\" target=\"_self\" >Crudo y pesado<\/a><\/h6>\n\n<div class=\"wp-block-post-excerpt\"><p class=\"wp-block-post-excerpt__excerpt\">Conception et mise en sc\u00e8ne par Pierre-Angelo Zavaglia \/ L\u2019Abri (Gen\u00e8ve) \u00e0 La Madeleine \/ du 5 au 7 avril 2022 \/ Critiques par Stella Wohlers et Isabelle Fasnacht . <\/p><\/div>\n\n\n<div style=\"height:1px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n<\/li><\/ul><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Critiques par spectacles jou\u00e9s dans ce th\u00e9\u00e2tre<\/p>\n","protected":false},"author":1002282,"featured_media":0,"parent":2713,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","_seopress_robots_follow":"","_seopress_robots_imageindex":"","_seopress_robots_snippet":"","_seopress_robots_primary_cat":"","_seopress_robots_breadcrumbs":"","_seopress_robots_freeze_modified_date":"","_seopress_robots_custom_modified_date":"","_seopress_robots_canonical":"","_seopress_social_fb_title":"","_seopress_social_fb_desc":"","_seopress_social_fb_img":"","_seopress_social_fb_img_attachment_id":0,"_seopress_social_fb_img_width":0,"_seopress_social_fb_img_height":0,"_seopress_social_twitter_title":"","_seopress_social_twitter_desc":"","_seopress_social_twitter_img":"","_seopress_social_twitter_img_attachment_id":0,"_seopress_social_twitter_img_width":0,"_seopress_social_twitter_img_height":0,"_seopress_redirections_value":"","_seopress_redirections_enabled":"","_seopress_redirections_enabled_regex":"","_seopress_redirections_logged_status":"","_seopress_redirections_param":"","_seopress_redirections_type":0,"_seopress_analysis_target_kw":"","_seopress_news_disabled":"","_seopress_video_disabled":"","_seopress_video":[],"_seopress_pro_schemas_manual":[],"_seopress_pro_rich_snippets_disable_all":"","_seopress_pro_rich_snippets_disable":[],"_seopress_pro_schemas":[],"footnotes":""},"class_list":["post-16224","page","type-page","status-publish"],"_links":{"self":[{"href":"https:\/\/wp.unil.ch\/ateliercritique\/wp-json\/wp\/v2\/pages\/16224","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wp.unil.ch\/ateliercritique\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/wp.unil.ch\/ateliercritique\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/ateliercritique\/wp-json\/wp\/v2\/users\/1002282"}],"replies":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/ateliercritique\/wp-json\/wp\/v2\/comments?post=16224"}],"version-history":[{"count":1,"href":"https:\/\/wp.unil.ch\/ateliercritique\/wp-json\/wp\/v2\/pages\/16224\/revisions"}],"predecessor-version":[{"id":22808,"href":"https:\/\/wp.unil.ch\/ateliercritique\/wp-json\/wp\/v2\/pages\/16224\/revisions\/22808"}],"up":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/ateliercritique\/wp-json\/wp\/v2\/pages\/2713"}],"wp:attachment":[{"href":"https:\/\/wp.unil.ch\/ateliercritique\/wp-json\/wp\/v2\/media?parent=16224"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}