Rui Pina Coelho* No doubt the phrase “documentary theatre” fails us. It is inadequate. Yet at present it is the best phrase available. Carol Martin (13) Watching the best theatre and performance we are together and alone. Tim Etchells (qtd.
Margareta Sörenson* Reviewing contemporary dance and performance leads the critic towards experiences that mobilise a total presence. A dance collective in Sweden, ÖFA, invites the audience to dance together with the dancers through the whole performance. The critic has a
Irina Antonova* Le problème d’intégration d’un critique théâtral dans un spectacle est souvent considéré à l’égard de la pratique théâtrale actuelle. Mais cette question comporte aussi un autre aspect qui touche à l’interaction du critique contemporain avec un spectacle dont
Conference keynote speech Christopher Balme* Introduction The theme of the symposium, “Does the critic have a body,” poses a question that is so obvious it is seldom asked, and, therefore, all the more pressing in its actuality; because the more