Skip to content
Critical Stages/Scènes critiques
The IATC journal/Revue de l'AICT – June/Juin 2020: Issue No 21
Special Topic
Essays
National Reports
Interviews
Performances
Books
Critics on Criticism
Covid-19
Special Topic
Ideology and Machines in the Work of Richard Wagner
June 8, 2020
June 21, 2020
Themelis Glynatsis
Special Topic
Interaction Between Music and Theatre in Identity Processes: Croatian Example
June 8, 2020
June 29, 2020
Iva Hraste-Sočo
Special Topic
Broadway Rap Battles and the Crisis of Historicity: Lin-Manuel Miranda’s
Hamilton
June 8, 2020
June 21, 2020
Konstantinos Blatanis
Special Topic
“Have you ever had an intention?”: The Postmodern Condition and the Failure of Epiphany in Michael John LaChiusa’s
Little Fish
June 7, 2020
June 27, 2020
Mara Davis
Special Topic
Opera of Postmodernism and New Challenges of Opera Critiсism
June 6, 2020
June 21, 2020
Irina Yaskevitch
Special Topic
Notes on Light: The Musicality of Light and Theatre
June 4, 2020
June 23, 2020
Amy Chan
Special Topic
In Pursuit of the Musical Image: Imagining the Soundscape of
Wild Man
June 4, 2020
June 21, 2020
Xing Fan
Special Topic
Transforming the Dark: Using Colour to Compose Sound in
Dark Matter
June 3, 2020
June 21, 2020
Martyn Roberts and Jeremy Mayall
Special Topic
Musicality in Simon Stephens’ Plays
June 1, 2020
June 21, 2020
Brigitte Bogar
Special Topic
Theatre for Sounds and Souls; or, The Polish
Song of the Goat
and Its Quest into the Impossible
May 30, 2020
June 21, 2020
Kalina Stefanova
Special Topic
La musique
live
et la fêlure des mots
May 29, 2020
June 21, 2020
Georges Banu
Special Topic
Theatre for Sounds and Souls; or, The Polish
Song of the Goat
and Its Quest into the Impossible
May 30, 2020
June 21, 2020
Kalina Stefanova
Special Topic
Musicality in Simon Stephens’ Plays
June 1, 2020
June 21, 2020
Brigitte Bogar
Special Topic
In Pursuit of the Musical Image: Imagining the Soundscape of
Wild Man
June 4, 2020
June 21, 2020
Xing Fan
Special Topic
La musique
live
et la fêlure des mots
May 29, 2020
June 21, 2020
Georges Banu
Essays
Essays
Making Community in the Age of Migration: What Is the Role of Social Media in Contemporary Theatre
May 5, 2020
May 16, 2020
Janne Cleveland
Essays
Paradigm Shift: Making Theatre with Social Media
May 4, 2020
May 11, 2020
Danielle Le Saux-Farmer
Essays
“It’s Everyday, Bro”: YouTube, “Authenticity,” and the Psychopathology of Late Capitalism
May 3, 2020
May 11, 2020
Chris Eaket
Essays
“Siri, Are You Female?”: Reinforcing and Resisting Gender Norms with Digital Assistants
May 2, 2020
May 11, 2020
Kimberley McLeod
Essays
temping
: On Technological Immersion, Surveillance and Existential Angst in One-to-One Performances: Yana Meerzon and Michael Rau in Dialogue
May 1, 2020
June 21, 2020
Yana Meerzon and Michael Rau
Essays
The Spiritual Reformation of Theatrical Practice: Interculturalism and the Modern Times Stage Company
April 30, 2020
July 24, 2020
Peter Farbridge
Essays
On Migration towards Europe.
Simple as ABC#3: The Wild Hunt
by Thomas Bellinck
April 29, 2020
May 11, 2020
Garcia Martinez Manuel
Essays
The Live History Company, Museum Theatre, “Four Spectators” and “That Guy”: A Complex Relationship
April 28, 2020
May 11, 2020
Rick Cousins
Essays
Children’s Plays in Iran: Iranian Culture or Homogenous Society?
April 27, 2020
May 11, 2020
Bahee Hadaegh and Zeinab Karimi
Essays
Art World Authenticities: Postmodern Curators, Creators and Performers
April 26, 2020
June 21, 2020
Dena Davida
National Reports
National Reports
Living Through Changes: Mongolian Theatre
May 25, 2020
June 14, 2020
Batsaikhan Dashdondog
National Reports
Theatre in Montenegro: An Unfinished Cultural Transition
May 16, 2020
May 19, 2020
Maja Mrđenović
National Reports
Le théâtre au Maroc, état des lieux
May 6, 2020
June 29, 2020
Baker Saddiki
Interviews
Interviews
Performing Outdoors: About Aesthetics and Ideology: An Interview with Joan Font
May 24, 2020
June 21, 2020
Mercè Saumell
Interviews
Conscious and Safe: Α Values-lead Response to the COVID-19 Crisis: An Interview with Jovana Karaulić
May 24, 2020
June 21, 2020
Tina Perić
Interviews
Le chemin continue : Entretien avec Data Tavadzé
April 7, 2020
June 21, 2020
Irina Gogobéridzé
Performance Reviews
Performance Reviews
Russian Theatre Before the Crash
May 30, 2020
June 15, 2020
Christine Matvienko
Performance Reviews
Dostoevsky and Whitman: The Murder and the Miracle
May 29, 2020
May 29, 2020
Lissa Tyler Renaud
Performance Reviews
The Jukebox Reimagined: New Musicals Pump Fresh Blood into a Tired Genre
May 29, 2020
June 21, 2020
Martin Morrow
Performance Reviews
Playing with Disaster
May 27, 2020
May 27, 2020
Patricia Keeney
Performance Reviews
On the Hungarian Border of Illuminating and Alienating
April 18, 2020
June 21, 2020
Cole J. Stern
Performance Reviews
Time, Chance and Space: Stan Lai’s Newest Work,
Ago
April 18, 2020
May 27, 2020
Yu Kuo-Hua
Performance Reviews
A Town Remembered and Recreated
April 18, 2020
June 5, 2020
Maria Zărnescu
Performance Reviews
L’écriture d’une vie
April 18, 2020
May 27, 2020
Jean-Pierre Han
Performance Reviews
L’art de
camper
Copi
April 18, 2020
June 4, 2020
Camille Khoury
Performance Reviews
An Absurd Night in a Georgian Hotel
April 18, 2020
May 31, 2020
Marina (Maka) Vasadze
Performance Reviews
Nora. The Big Exit
April 18, 2020
June 21, 2020
Penelope Chatzidimitriou
Performance Reviews
Tomorrow’s Theatre! Maybe
April 18, 2020
May 27, 2020
Steve Capra
Performance Reviews
Germany During the Crash
April 17, 2020
June 4, 2020
Matti Linnavuori
Book Reviews
Book Reviews
Staging Postcommunism: Alternative Theatre in Eastern and Central Europe After 1989
April 11, 2020
June 21, 2020
Don Rubin
Book Reviews
Theatre Blogging: The Emergence of a Critical Culture
April 11, 2020
May 5, 2020
Mark Fisher
Book Reviews
A Century of South African Theatre
April 11, 2020
August 28, 2020
Temple Hauptfleisch
Book Reviews
Koffi Kwahulé
April 7, 2020
May 5, 2020
Selim Lander
Book Reviews
Pip Utton and his Masks/ Pip Utton I jegoMaski
April 7, 2020
April 26, 2020
Don Rubin
Critics on Criticism
Critics on Criticism
Bugged (Critics, Criticism and Critical Categories)
May 6, 2020
August 3, 2020
Don Rubin
Covid-19 Reports
View All
Covid
A Pandemic Theatre “Album” of First Reactions: Αn Introduction
Covid
Theatre and Epidemics: An Age-Old Link
Covid
ARGENTINA: “Never Abandon the Theatre, Even in the Toughest Situations”
Covid
CANADA: Working through the Cracks
Covid
CZECH REPUBLIC: Austerity of Movement and Theatre on Screen
Covid
ENGLAND: March and April were the Cruellest Months
Covid
GEORGIA: In Search of New Forms and Ideas
Covid
GREECE: Being Active with Theatres Closed
Covid
HONG KONG: Our Passion Will Go On, Even If the Shows Cannot
Covid
INDIA: Pandemic: A Vulnerable Time for Artists
Covid
JAPAN: Theatre is Life
Covid
LATVIA: All the World’s a Screen
Covid
MARTINIQUE : Cahiers de confinement
Covid
MEXICO: Theatre in Intensive Care
Covid
POLAND: Internet-theatre and Insufficient State Support for the Artists
Covid
QUEBEC (CANADA) : Au Québec, grogne et résilience des artistes
Covid
ROMANIA: Theatre is Always Alive
Covid
RUSSIA: Rethinking Communication Strategies
Covid
SLOVAKIA: Virtual Centenary of Slovak Theatre
Covid
SOUTH AFRICA: Devastating Effects
Covid
SOUTH KOREA: Out of Crisis Arises Opportunity
Covid
SWEDEN: The Future Uncertain within the Independent Field
Covid
TAIWAN: Crisis or Chance: Theatre in Difficult Times
Covid
ΤURKEY: “Hope is in People, Hope is in Us”
Covid
UNITED STATES: Live from the United States, It’s Social Distancing
