{"id":108,"date":"2019-10-09T20:22:51","date_gmt":"2019-10-09T20:22:51","guid":{"rendered":"https:\/\/www.critical-stages.org\/20\/?page_id=108"},"modified":"2019-10-09T20:24:40","modified_gmt":"2019-10-09T20:24:40","slug":"editorial-board","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/20\/editorial-board\/","title":{"rendered":"Editorial Board"},"content":{"rendered":"\n
<\/span>
<\/div>
Savas<\/span> Patsalidis<\/span><\/div>
Editor-in-chief<\/div>

Academic & Critic
(Greece\/Gr\u00e8ce)<\/p><\/div>

\"\"<\/a><\/div><\/div><\/div>
<\/div><\/div><\/div><\/div>\n\n\n\n
<\/span>
<\/div>
Jeffrey Eric<\/span> Jenkins<\/span><\/div>
Executive Editor<\/div>

Academic & Critic
(USA\/\u00c9tats-Unis)<\/p><\/div>

\"\"<\/a><\/div><\/div><\/div>
<\/div>
Don<\/span> Rubin<\/span><\/div>
Managing Editor<\/div>

Academic & Critic
(Canada)<\/p><\/div>

\"\"<\/a><\/div><\/div><\/div><\/span><\/div><\/span>
<\/div>
Ian<\/span> Herbert<\/span><\/div>
Language Editor\u00a0(and Board Member)<\/div>

Publisher, Critic
(England\/Angleterre)<\/p><\/div>

\"\"<\/a><\/div><\/div><\/div>
<\/div>
Michel<\/span> Va\u00efs<\/span><\/div>
Language Editor\u00a0(and Board Member)<\/div>

Critic & Scholar
(Quebec, Canada)<\/p><\/div>

\"\"<\/a><\/div><\/div><\/div>
<\/div><\/div><\/div><\/div>\n\n\n\n
<\/span>
<\/div>
Maria<\/span> Shevstova<\/span><\/div>
Board Member<\/div>

Academic & Critic
(England\/Angleterre)<\/p><\/div>

\"\"<\/a><\/div><\/div><\/div>
<\/div>
Patrice<\/span> Pavis<\/span><\/div>
Board Member<\/div>

Academic & Critic
(France)<\/p><\/div>

\"\"<\/a><\/div><\/div><\/div><\/span>
<\/div>
Lissa<\/span> Tyler Renaud<\/span><\/div>
Board Member<\/div>

Director, Critic, Scholar
(USA\/\u00c9tats-Unis)<\/p><\/div>

\"\"<\/a><\/div><\/div><\/div><\/div><\/span>
<\/div>
Ivan<\/span> Medenica<\/span><\/div>
Board Member<\/div>

Academic & Critic
(Serbia\/Serbie)<\/p><\/div>

\"\"<\/a><\/div><\/div><\/div><\/span>
<\/div>
Femi<\/span> Osofisan<\/span><\/div>
Board Member<\/div>

Academic & Playwright
(Nigeria)<\/p><\/div>

\"\"<\/a><\/div><\/div><\/div>
<\/div>
Yun Cheol<\/span> Kim<\/span><\/div>
Board Member<\/div>

Academic & Critic
(S. Korea\/Cor\u00e9e du Sud)<\/p><\/div>

\"\"<\/a><\/div><\/div><\/div><\/span><\/div><\/span>
<\/div>
Jean Pierre<\/span> Han<\/span><\/div>
Board Member<\/div>

Critic
(France)<\/p><\/div>

\"\"<\/a><\/div><\/div><\/div>
<\/div>
Thomas<\/span> Irmer<\/span><\/div>
Board Member<\/div>

Academic & Critic
(Germany\/Allemagne)<\/p><\/div>

\"\"<\/a><\/div><\/div><\/div><\/span>
<\/div>
Matti<\/span> Linnavuori<\/span><\/div>
Board Member<\/div>

Critic
(Finland\/Finlande)<\/p><\/div>

\"\"<\/a><\/div><\/div><\/div><\/div><\/span>
<\/div>
Manabu<\/span> Noda<\/span><\/div>
Board Member<\/div>

Academic & Critic
(Japan\/Japon)<\/p><\/div>

\"\"<\/a><\/div><\/div><\/div><\/span>
<\/div>
Ludmila<\/span> Pantlanjoglou<\/span><\/div>
Board Member<\/div>

Academic & Critic
(Romania\/Roumanie)<\/p><\/div>

\"\"<\/a><\/div><\/div><\/div>
<\/div>
Yana<\/span> Meerzon <\/span><\/div>
Board Member<\/div>

Academic & Critic
(Canada\/Russia\/Russie)<\/p><\/div>

\"\"<\/a><\/div><\/div><\/div><\/span><\/div><\/span>
<\/div>
Tomasz<\/span> Milkowski<\/span><\/div>
Board Member<\/div>

Critic
(Poland\/Pologne)<\/p><\/div>

\"\"<\/a><\/div><\/div><\/div>
<\/div>
Halima<\/span> Tahan Ferreyra<\/span><\/div>
Board Member<\/div>

Critic
(Argentina\/Argentine)<\/p><\/div>

\"\"<\/a><\/div><\/div><\/div><\/span>
<\/div>
Herv\u00e9<\/span> Guay<\/span><\/div>
Board Member<\/div>

Academic & Critic
(Quebec, Canada)<\/p><\/div>

\"\"<\/a><\/div><\/div><\/div><\/div><\/span>
<\/div>
Diana<\/span> Damian Martin<\/span><\/div>
Board Member<\/div>

Academic & Critic
(England\/Angleterre)<\/p><\/div>

\"\"<\/a><\/div><\/div><\/div><\/span>
<\/div>
Selim<\/span> Lander<\/span><\/div>
Board Member<\/div>

Critic
(Caribbean\/des Cara\u00efbes)<\/p><\/div>

\"\"<\/a><\/div><\/div><\/div>
<\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-108","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":269,"url":"https:\/\/www.critical-stages.org\/20\/cs-issue-no-20-editors\/","url_meta":{"origin":108,"position":0},"title":"CS Issue No 20 Editors","author":"cs2-admin","date":"October 29, 2019","format":false,"excerpt":"Special Topic Yun-Cheol Kim\u00a0obtained his PhD from BYU with his dissertation on contemporary American Drama. He served as President of the International Association of Theatre Critics (IATC) from 2008 till 2014. During his presidency he launched IATC\u2019s journal\u00a0Critical Stages\u00a0in 2009. Now he is an honorary president of the Association. He\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/Yun-Cheol_Kim-2.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":804,"url":"https:\/\/www.critical-stages.org\/20\/editorial-note-critical-stages-scenes-critiques-is-ten-years-old\/","url_meta":{"origin":108,"position":1},"title":"Editorial Note: We have a good reason to celebrate!","author":"cs2-admin","date":"December 28, 2019","format":false,"excerpt":"Savas Patsalidis* HAPPY NEW YEAR to all Critical Stages\/Sc\u00e8nes critiques (CS\/Sc) readers from all over the world. Our journal is ten years old and we have good reason to celebrate. Not only have we survived, we have also managed to substantially increase the numbers and the global reach of our\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/FR.png?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":1054,"url":"https:\/\/www.critical-stages.org\/20\/table-of-contents\/","url_meta":{"origin":108,"position":2},"title":"Table of Contents","author":"cs2-admin","date":"February 12, 2021","format":false,"excerpt":"Special Topic AGEISM AND\/IN THEATREGuest Editors:\u00a0Yun Cheol Kim\u00a0(S. Korea) and\u00a0Manabu Noda\u00a0(Japan) A Note from the Guest EditorsManabu Noda and Yun Cheol Kim Creating Dance with Elders, and How to See It: Company of Elders in the World Gold Theatre FestivalKatsuhiko Sakaguchi Countering Ageism and Eugenics in TheatreAkiko Tachiki Age and\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":766,"url":"https:\/\/www.critical-stages.org\/20\/theatre-criticism-for-young-audiences-new-directions\/","url_meta":{"origin":108,"position":3},"title":"Theatre Criticism for Young Audiences: New Directions","author":"cs2-admin","date":"December 18, 2019","format":false,"excerpt":"Call for Papers & Essays Guest Editors: Anette Therese Pettersen,\u00a0Diana Damian-Martin\u00a0and\u00a0Rui Pina Coelho Theatre and performance can act as places of inclusion and exclusion for children and young people, whilst they are also vehicles for play, inquiry and agency. This special issue of\u00a0Critical Stages\/Sc\u00e8nes critiques\u00a0(#22, 2020) explores criticism about theatre\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1005,"url":"https:\/\/www.critical-stages.org\/20\/re-orienting-arab-theatre-and-performance-new-political-aesthetics\/","url_meta":{"origin":108,"position":4},"title":"Re-Orienting Arab Theatre and Performance: New Political Aesthetics","author":"cs2-admin","date":"January 12, 2020","format":false,"excerpt":"Call for Articles and Essays Guest Editor: Dr Youssef Yacoubi This issue (#22, 2020) of\u00a0Critical Stages\/Sc\u00e8nes critiques will be dedicated to studies and attempts to \u201creorient\u201d Arab theatre and performance in light of the radical transformations shaping the Middle East and North Africa both aesthetically and politically. The word \u201creorienting\u201d\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/fr-150x150.png?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/pages\/108","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/comments?post=108"}],"version-history":[{"count":2,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/pages\/108\/revisions"}],"predecessor-version":[{"id":110,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/pages\/108\/revisions\/110"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/media?parent=108"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}