{"id":766,"date":"2019-12-18T18:16:56","date_gmt":"2019-12-18T18:16:56","guid":{"rendered":"https:\/\/www.critical-stages.org\/20\/?page_id=766"},"modified":"2019-12-18T19:25:26","modified_gmt":"2019-12-18T19:25:26","slug":"theatre-criticism-for-young-audiences-new-directions","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/20\/theatre-criticism-for-young-audiences-new-directions\/","title":{"rendered":"Theatre Criticism for Young Audiences: New Directions"},"content":{"rendered":"\n<h5 class=\"has-text-align-center wp-block-heading\"><strong>Call for Papers &amp; Essays<\/strong><\/h5>\n\n\n\n<p>Guest Editors: <strong>Anette Therese Pettersen<\/strong>,&nbsp;<strong>Diana Damian-Martin<\/strong>&nbsp;and&nbsp;<strong>Rui Pina Coelho<\/strong><\/p>\n\n\n\n<p>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&nbsp;<em>Critical Stages\/Sc\u00e8nes critiques<\/em>&nbsp;(#22, 2020) explores criticism about theatre and performance for children and young audiences, as well as criticism by children and young audiences.<\/p>\n\n\n\n<p>Children&#8217;s theatre and performance is an area of practice that continues to grow, manifest through increasing institutional presence of artistic works, educational projects<strong>,&nbsp;<\/strong>outreach, community and socially-engaged projects and interventions. Despite national discrepancies in how this area of work is resourced and developed, the presence of theatre and performance in schools, organisations, independent projects and interdisciplinary, creative practices has created multiple relations to changing concepts of agency, age and participation in a range of spaces- from the institutional (schools, theatres, community spaces, assemblies) to the social (public spaces). Similarly,&nbsp; there has been increasing visibility and focus on activist movements shaped by youth leadership (Greta Thunberg, Autumn Peltier, Mary Copeny), in which performance operates as a critical paradigm and mode of intervention.&nbsp;<\/p>\n\n\n\n<p>There are performances for children, and those by children; performances that are welcoming to younger audiences, and educational and civic projects that give children varying degrees of agency. However, the dominant paradigm in theatre and performance continues to be driven by age categories and by ideas about appropriateness or intent, despite or because of its proximity to questions of representation or those of social justice and equality. Institutions have specific ways of engaging with children and young people, whilst criticism about work is often authored by adults.<br><br>Do children and young people\u2019s theatre and performance invite, require or facilitate a different type of criticism? What is specific to the experience of adults writing about young people and children\u2019s theatre?<br><br>Adding to this&nbsp;<em>praxis<\/em>, we could consider a number of pressing questions that widen the discussion, and bring into focus the complex ethics of writing and of intergenerational dialogue:<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>What quality does the experience of an adult critic have if the performance was not intended for them?<\/li><li>What does transgenerational and inclusive criticism look like?<\/li><li>What practices of criticism \u2015in an expansive sense\u2015 already engage with these questions and where?<\/li><li>What equitable relations might criticism invite between adults and children?<\/li><li>What formats of criticism are suited for performances for children and youth, and who are its readers and authors?<\/li><li>How do young people and children challenge, expand and reshape criticism?<\/li><\/ul>\n\n\n\n<p>This Special Topic of&nbsp;<em>Critical Stages\/Sc\u00e8nes critiques<\/em>&nbsp;&nbsp;(#22, 2020) will examine the specificity of theatre and performance criticism for and by children and young audiences.<\/p>\n\n\n\n<p><strong>Contributions might consider, but are not limited to, the following themes:<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Formats for criticism by children and young people<\/li><li>Singularity of theatre criticism for young audiences<\/li><li>Theatre for young audiences: artistic experience, educational paradigms<\/li><li>Transgenerational criticism<\/li><li>Anti-colonialism, anti-racism and social justice in theatre criticism by and for young audiences<\/li><li>Criticism and the educational turn<\/li><li>Children\u2019s theatre and critical dialogue<\/li><li>Agency, power and criticism by and for children and young audiences<\/li><li>Inclusion and theatre and performance criticism<\/li><li>Critical challenges in children and young audiences\u2019 theatre and performance<\/li><li>Play as criticism, criticism as play<\/li><\/ul>\n\n\n\n<p>We invite critics, scholars and researchers from around the world of all ages to contribute to a Special Topic of the journal dedicated to the praxis of theatre and performance criticism for children and young audiences. We welcome and strongly encourage interdisciplinary contributions.<\/p>\n\n\n\n<p><strong>Length<\/strong>: Maximum 3.500 words<br><strong>Language<\/strong>: English or French<br><strong>Deadline&nbsp;for proposals (300 words)<\/strong>: <strong>July 19, 2020<\/strong><br><strong>Submissions<\/strong>&nbsp;in the form of completed articles should be sent by early September&nbsp;2020<br><strong>Revisions&nbsp;<\/strong>will be due by <strong>early November 2020<\/strong><br><strong>Publication date<\/strong>: <strong>December 2020<\/strong><br><strong>Style<\/strong>: MLA (8th edition) &#8211; Find the Guide online&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/style.mla.org\/\" target=\"_blank\">here<\/a>. Alternatively, see&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/owl.purdue.edu\/owl\/research_and_citation\/mla_style\/mla_formatting_and_style_guide\/mla_formatting_and_style_guide.html\" target=\"_blank\">here<\/a>.<\/p>\n\n\n\n<p class=\"has-text-align-center\">For any questions or support with your contribution, please email Critics on Criticism section editor&nbsp;<strong>Diana Damian Martin<\/strong>&nbsp;on&nbsp;<a href=\"mailto:diana.damian@cssd.ac.uk\"><strong>diana.damian@cssd.ac.uk<\/strong><\/a><\/p>\n\n\n\n<p><strong>Anette Therese Pettersenis<\/strong> a writer and critic. She is currently a PhD Research Fellow at the University of Agder in Norway, where she is working on a project on affective and performative criticism for youths.<\/p>\n\n\n\n<p><strong>Rui Pina Coelhois<\/strong> a writer, critic, and researcher. He is Assistant Professor at the School of Arts and Humanities (University of Lisbon), Director of the Centre for Theatre Studies (Lisbon) and Director of&nbsp;<em>Sinais de cena-Performing Arts and Theatre Studies Journal<\/em>.<\/p>\n\n\n\n<p><strong>Diana Damian Martin<\/strong> is a writer, critic and researcher and section editor of Critics on Criticism for Critical Stages. Diana works as Senior Lecturer in Performance Arts at The Royal Central School of Speech and Drama.<\/p>\n\n\n\n<h5 class=\"has-text-align-center wp-block-heading\"><strong>Submission Guidelines<\/strong><\/h5>\n\n\n\n<p><strong>Permissions<\/strong>:&nbsp;<em>Critical Stages\/Sc\u00e8nes critiques<\/em>&nbsp;publishes writings that have not been previously published in English or French. Permission to reprint articles is granted with the requirement to include \u201cFirst published in<em>&nbsp;Critical Stages\/Sc\u00e8nes critiques<\/em>,\u201d along with other citation information and the web address of the journal.<\/p>\n\n\n\n<p><strong>Photos<\/strong>: Photos (JPEG) and other types of illustrations are encouraged. The position of the photo should be designated in the article. All necessary permissions for images should be provided. These can be in the form of an e-mail from the company, or documentation that you have procured the images from an official website. Note: If the performance the author attended is other than the opening night, please include mention of the actual date in the text itself. General information regarding the production, however, should match the date recorded in national and international databases.<\/p>\n\n\n\n<p><strong>Photo Captions:<\/strong>&nbsp;Each photo of a performance needs a caption including title of the performance, names of playwright, director, company, venue, the date of the premi\u00e8re, and photo credits.&nbsp; Names of actors (clockwise from top left) can also be added.<\/p>\n\n\n\n<p><strong>Author Information<\/strong>: Author\u2019s name, photo, e-mail address, and professional affiliation, and short profile should be given with your submission, separately from the article file. Only the article title should appear at the head of the article file.<\/p>\n\n\n\n<p><strong>Quick Style Sheet<\/strong>&nbsp;for&nbsp;<em>Critical Stages\/Sc\u00e8nes critiques<\/em>&nbsp;for English and French language texts is available&nbsp;<a href=\"https:\/\/www.critical-stages.org\/style-sheet-for-critical-stages\/\" target=\"_blank\" rel=\"noreferrer noopener\">here<\/a>.\n\n<\/p>\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-766","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":367,"url":"https:\/\/www.critical-stages.org\/20\/international-theatre-and-performing-arts-festival-guide\/","url_meta":{"origin":766,"position":0},"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":370,"url":"https:\/\/www.critical-stages.org\/20\/inter-connecting-a-collection-of-useful-links\/","url_meta":{"origin":766,"position":1},"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":766,"position":2},"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":269,"url":"https:\/\/www.critical-stages.org\/20\/cs-issue-no-20-editors\/","url_meta":{"origin":766,"position":3},"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":1054,"url":"https:\/\/www.critical-stages.org\/20\/table-of-contents\/","url_meta":{"origin":766,"position":4},"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":1005,"url":"https:\/\/www.critical-stages.org\/20\/re-orienting-arab-theatre-and-performance-new-political-aesthetics\/","url_meta":{"origin":766,"position":5},"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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