{"id":9,"date":"2016-04-05T16:44:30","date_gmt":"2016-04-05T16:44:30","guid":{"rendered":"https:\/\/www.critical-stages.org\/10\/?page_id=9"},"modified":"2016-04-10T13:29:19","modified_gmt":"2016-04-10T13:29:19","slug":"editorial-note","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/10\/editorial-note\/","title":{"rendered":"Editorial Note"},"content":{"rendered":"

Yun-Cheol Kim<\/strong>[1]<\/sup><\/a><\/p>\n

\"Yun-Cheol\"<\/p>\n

In this edition of our journal we interview theatre artists on the topic of \u2018Theatre Criticism As It should Be in the Near Future.\u2019 We critics have contributed a lot of essays on criticism for the past nine issues of Critical Stages<\/em>, and I focus in this particular edition on \u201cpractitioners on criticism.\u201d Theatre practitioners are among our most ardent readers, and their ideas on criticism should also be listened to carefully by we critics, just as we wish them to pay close attention to our reviews.<\/p>\n

I confess that it is Peter Brook\u2019s comments on \u201cdeadly critics\u201d in his great book The Empty Space<\/em> that have most influenced me in my career as theatre critic. I have taken his comments as the guidelines of my professional practice. I hope that some critics, at least, find similar insights and wisdom from our interviewees in this issue.<\/p>\n

I thank all participants in this important project for their wonderful, insightful, practical and philosophical comments on criticism. I hope the interviews published here will prove to be a great starting point for dialogue about theatre and criticism between critics and practitioners.<\/p>\n

\n

[1]<\/a> Yun-Cheol Kim<\/strong> is President of IATC; Artistic Director of National Theater Company of Korea; recipient of the Cultural Order of Korea; Professor at the School of Drama, Korea National University of Arts; editor-in-chief of Critical Stages<\/i>. Two-time winner of the \u201cCritic of the Year Award,\u201d he has published ten books so far, two of which are anthologies of theatre reviews.<\/p>\n

\n
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Give Advice! Be a Political Journalist! \u2501 Interview with Finnish dramaturge Juha-Pekka Hotinen<\/a><\/h4><\/div><\/div>\n
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New Media: An Energetic Virtual Conference? \u2501 Interview with Ellen Margolis, playwright, director; Chair of Theatre, Pacific University<\/a><\/h4><\/div><\/div>\n
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Contributing to the Culture \u2501 Interview with Tony Taccone, Artistic Director, Berkeley Repertory Theatre; playwright<\/a><\/h4><\/div><\/div>\n
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A la recherche du regard pluriel \u2501 Entretien avec Yannis Leontaris<\/a><\/h4><\/div><\/div>\n
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Mats Ek: On Criticism \u2501 Interview with choreographer and director Mats Ek<\/a><\/h4><\/div><\/div>\n
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Our Critics are Confounded and Resigned \u2501 Interview with R\u00f3bert Alf\u00f6ldi, ex-director of the Hungarian National Theatre, actor, director<\/a><\/h4><\/div><\/div>\n
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Interview with Jean Lambert-wild, director of Com\u00e9die de Caen<\/a><\/h4><\/div><\/div>\n
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Interview with Jonathan Mills, director of Edinburgh International Festival<\/a><\/h4><\/div><\/div>\n
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\u201cTheatre forms the core around which dialogue develops\u201d \u2014 Interview with Oriza Hirata<\/a><\/h4><\/div><\/div>\n
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Quatre questions \u00e0 Robert Lepage sur la critique<\/a><\/h4><\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

Yun-Cheol Kim[1] In this edition of our journal we interview theatre artists on the topic of \u2018Theatre Criticism As It should Be in the Near Future.\u2019 We critics have contributed a lot of essays on criticism for the past nine<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-9","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P7qGU1-9","_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/10\/wp-json\/wp\/v2\/pages\/9","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/10\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/10\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/10\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/10\/wp-json\/wp\/v2\/comments?post=9"}],"version-history":[{"count":0,"href":"https:\/\/www.critical-stages.org\/10\/wp-json\/wp\/v2\/pages\/9\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/10\/wp-json\/wp\/v2\/media?parent=9"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}