{"id":269,"date":"2019-10-29T19:37:07","date_gmt":"2019-10-29T19:37:07","guid":{"rendered":"https:\/\/www.critical-stages.org\/20\/?page_id=269"},"modified":"2019-12-29T07:44:05","modified_gmt":"2019-12-29T07:44:05","slug":"cs-issue-no-20-editors","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/20\/cs-issue-no-20-editors\/","title":{"rendered":"CS Issue No 20 Editors"},"content":{"rendered":"\n

Special Topic<\/strong><\/h4>\n\n\n\n
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Yun-Cheol Kim<\/strong> obtained 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 Critical Stages<\/em> in 2009. Now he is an honorary president of the Association. He served as artistic director of the National Theatre Company of Korea for four years (from the beginning of 2014 till the end of 2017). He retired from the School of Drama, Korean National University of the Arts in 2015, where he taught for twenty years. He is now its honorary professor. He received the Cultural Order from the Korean government in 2008. Two-time winner of the \u201cCritic of the Year Award,\u201d he has published twelve books, two of which are anthologies of theatre reviews.\n\n<\/p>\n<\/div><\/div>\n\n\n\n

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Manabu Noda<\/strong> is Professor at Meiji University, Tokyo, Japan. As a theatre critic and researcher, he has written on British and Japanese theatre, acting and theatre history. He is currently editor in chief of the Theatre Arts (IATC Japan) and on the editorial board of Critical Stages (IATC). His English publications include \u201cImmersion as the Inscription of Theatre-Maker’s Reading: Complicite, The Encounter,\u201d in Contemporary Drama and Performative Space: From Playwriting to Immersive Theatre (2018); \u201cTrying to Give Shape to an Unending End: Post-3\/11 Theatre in Tokyo,\u201d Critical Stages 6 (2012); \u201cFrom Articulation to Synthesis: Stage Passions from the Eighteenth to Early Nineteenth Centuries in England,\u201d in Auff\u00fchrungsdiskurse im 18. Jahrhundert (2011); and \u201cThe Body Ill at Ease in Post-War Japanese Theatre,\u201d New Theatre Quarterly, 23:3 (2007).<\/p>\n<\/div><\/div>\n\n\n\n

Essays<\/strong><\/h4>\n\n\n\n
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Yana Meerzon<\/strong> is Professor at the University of Ottawa. She has published on theatre of exile and migration, cultural and interdisciplinary studies. Her books include A Path of the Character: Michael Chekhov\u2019s Inspired Acting and Theatre Semiotics<\/em> (2005) and Performing Exile \u2013 Performing Self: Drama, Theatre, Film<\/em> (Palgrave 2012). She has also co-edited several book collections and special issues of journals on these topics. As of this issue of Critical Stages<\/em>, Yana is the editor of the journal\u2019s \u201cEssay Section\u201d\n\n<\/p>\n<\/div><\/div>\n\n\n\n

Interviews & National Reports<\/strong><\/h4>\n\n\n\n
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Savas Patsalidis <\/strong>is Professor of theatre and performance history and theory in the School of English (Aristotle University, Thessaloniki), the Hellenic Open University and the Drama Academy of the National Theatre of Northern Greece. He is also a regular lecturer on the Graduate Programme of the Theatre Department at Aristotle University. He is the author of fourteen books on theatre and performance criticism\/theory and co-editor of another thirteen. His two-volume study, Theatre, Society, Nation<\/em> (2010), was awarded first prize for best theatre study of the year. His latest book-length study Theatre & Theory II: About Topoi, Utopias and Heterotopias<\/em> was published in 2019 by University Studio Press. In addition to his academic activities, he works as a theatre reviewer for the ejournals lavart<\/em>, parallaxi<\/em>, and thegreekplay project. <\/em>He is currently the president of the Hellenic Association of Theatre and Performing Arts Critics, member of the curators\u2019 team of Dimitria Festival and the editor-in-chief of Critical Stages\/Sc\u00e8nes critiques<\/em>, the journal of the International Association of Theatre Critics.\n\n<\/p>\n<\/div><\/div>\n\n\n\n

Conference Papers<\/strong><\/h4>\n\n\n\n
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Ivan Medenica<\/strong> (Belgrade, Serbia), works at the FDA as Professor, teaching The History of World Drama and Theatre. He is an active theater critic and has received six times the national award for the best theatre criticism. He was the artistic director of Sterijino Pozorje in Novi Sad, the leading national theater festival in Serbia (2003-2007), to which he brought some important structural changes, especially in the domain of internationalization. From 2001 to 2012, Medenica was one of the main editors of the prestigious journal Teatron. <\/em>He is a member of the International Association of Theater Critics\u2019 Executive Committee and the Director of its international conferences. He is also member of the editorial board of Critical Stages<\/em>, the web journal of the Association, and as of October 2015, the artistic director of Bitef Festival (Belgrade).<\/p>\n<\/div><\/div>\n\n\n\n

Performance Reviews<\/strong><\/h4>\n\n\n\n
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Matti Linnavuori<\/strong> wrote theatre criticism between 1978 and 2013 for various newspapers and weeklies in his native Finland. In 1985, he worked for the BBC World Service in London. Since 1998, he has presented papers at numerous IATC events. In the 2000s, he wrote for Teatra Vestnesis in Latvia. Since 1992, he has written and directed several radio plays for YLE the Finnish Broadcasting Company. In March 2016, his play Ta mig till er ledare (Take me to your leader<\/em>) premiered at Lilla Teatern in Helsinki. <\/p>\n<\/div><\/div>\n\n\n\n

Book Reviews<\/strong><\/h4>\n\n\n\n
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Don Rubin<\/strong>\u00a0is Managing Editor of Critical Stages\/Sc\u00e8nes critiques<\/em>. He is the General Editor of Routledge’s six-volume World Encyclopedia of Contemporary Theatre<\/em> and founding Editor of Canada’s national theatre quarterly Canadian Theatre Review<\/em>. He is Professor Emeritus of Theatre at York University in Toronto and Founding Director and Former Chair of both York\u2019s Department of Theatre and its MA\/PhD Program in Theatre and Performance Studies. His volume Canadian Theatre History: Selected Readings<\/em> is a standard volume on the subject. He is a vice-president and trustee of the Shakespeare Oxford Fellowship. <\/p>\n<\/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-269","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":370,"url":"https:\/\/www.critical-stages.org\/20\/inter-connecting-a-collection-of-useful-links\/","url_meta":{"origin":269,"position":0},"title":"Inter-Connecting: A Collection of Useful Links","author":"cs2-admin","date":"November 11, 2019","format":false,"excerpt":"Drafted by Katerina Delikonstantinidou* Since it was launched in 2009, Critical Stages\/Sc\u00e8nes Critiques has become well-established as a genuinely inclusive webjournal; the range and diversity of its contributors and the breadth of its intellectual exploration and enquiry attest to that. The journal has an outward-facing, genuinely global vision of theatre\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"Katerina","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/12\/wp-content\/uploads\/sites\/2\/2015\/12\/Katerina-300x259.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":269,"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":367,"url":"https:\/\/www.critical-stages.org\/20\/international-theatre-and-performing-arts-festival-guide\/","url_meta":{"origin":269,"position":2},"title":"International Theatre and Performing Arts Festival Guide","author":"cs2-admin","date":"November 11, 2019","format":false,"excerpt":"Drafted by Katerina Delikonstantinidou* Although we witness an impressive increase of international festivals devoted to the work of theatre and performance\u2014a phenomenon that can be partly attributed to what cultural critics call the increasing \u201cfestivalization\u201d of public cultures\u2014a concise reference book about these very events taking place around the world\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\/image1.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image1.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image1.jpeg?resize=525%2C300&ssl=1 1.5x"},"classes":[]},{"id":1005,"url":"https:\/\/www.critical-stages.org\/20\/re-orienting-arab-theatre-and-performance-new-political-aesthetics\/","url_meta":{"origin":269,"position":3},"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. 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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":[]}],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/pages\/269","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=269"}],"version-history":[{"count":10,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/pages\/269\/revisions"}],"predecessor-version":[{"id":824,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/pages\/269\/revisions\/824"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/media?parent=269"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}