{"id":804,"date":"2019-12-28T07:24:50","date_gmt":"2019-12-28T07:24:50","guid":{"rendered":"https:\/\/www.critical-stages.org\/20\/?page_id=804"},"modified":"2020-01-11T15:19:49","modified_gmt":"2020-01-11T15:19:49","slug":"editorial-note-critical-stages-scenes-critiques-is-ten-years-old","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/20\/editorial-note-critical-stages-scenes-critiques-is-ten-years-old\/","title":{"rendered":"Editorial Note: We have a good reason to celebrate!"},"content":{"rendered":"\n
\"\"<\/a><\/figure><\/div>\n\n\n\n

Savas Patsalidis<\/strong>*<\/a><\/p>\n\n\n\n

HAPPY NEW YEAR to all Critical Stages\/Sc\u00e8nes critiques (CS\/Sc)<\/em> 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 readership, which now covers 200 countries. <\/p>\n\n\n\n

766 original contributions by 400 writers from 69 countries have helped CS\/Sc <\/em>to become\none of the\nleading global theatre journals, providing vital space for widening critical\ndebate in old, as well as new and emerging subjects in the area of theatre and\nthe performing arts.<\/p>\n\n\n\n

Building on the success of the last decade, we hope and intend to continue Critical Stages\/Sc\u00e8nes critiques <\/em>as a bilingual, Open Access and global theatre journal. Indeed, in the decade ahead, we hope to extend the reach of CS\/Sc<\/em> even further.<\/p>\n\n\n\n

We live in difficult times. The\nworld is changing, ethics and habits are altering rapidly. In such times, theatre\nmust be ready to dislodge itself, and the gaze of its audience, in order to\nembrace the new social plurality and, thus, create \u201ccritical space\u201d in\nwhich everyone engaged in the live dramatic arts, from audiences to practitioners, researchers, scholars and, of course, critics, can develop and thrive. This double issue of CS\/Sc<\/em>\nis an attempt to put such thinking into practice.<\/p>\n\n\n\n

For the New Year we have given the journal a new look. We hope it offers a more colourful and user friendly presentation to its 42 cutting-edge and challenging contributions, by 45 authors from 24 countries, ranging from Argentina to England,\u00a0 Japan, Spain, Martinique, Serbia, Greece, South Korea, France and Cyprus. <\/p>\n\n\n\n

The special topic of this edition is Ageism and\/in Theatre <\/em><\/strong>edited by Manabu Noda and Yun Cheol Kim. We chose this particular field of research and reflection because it carries a paradox within it: namely, that ageism is a prejudice perpetuated by a lack of awareness that it even exists. Although we are very sensitive towards all kinds of prejudices ranging from sexism to racism, we seem to bypass a fact of life which, if we all live long enough, we will experience: the negative stereotypes, associations and discriminatory traits related to or often directed against older people by individuals and institutions. This is a relatively new field of study, which makes our engagement with it even more exciting. The articles chosen for publication by our two guest editors (both of whom are university professors) are evidence of that. <\/p>\n\n\n\n

\u03a4he  articles published in the “\u0395ssay section” under the title Multilingual Performance and Migration<\/em><\/strong>, are a reflection on another subject that has been making headlines in the last few years: namely, mass migration. It is the first time since WWII that so many people are in search of a new homeland, and that explains the growing interest not only of sociologists, politicians, geographers and ethnologists, but also of theatre artists. <\/p>\n\n\n\n

In 2018 the journal Modern Drama<\/em> presented the first part of a research project on contemporary theatre and multilingualism (Migration and Multilingualism) <\/em>sponsored by the Faculty of Arts and Philosophy at Ghent University. The following year Routledge published the second part of this project Dramaturgy of Migration: Staging Multilingual Encounters in Contemporary Theatre<\/em> and now comes Critical Stages\/Sc\u00e8nes critiques<\/em> to contribute to the enrichment of international scholarship with seven articles which, in the words of the editor Yana Meerzon, \u201care the further proof of the importance and richness of this field, as we continue studying dramaturgical, political, artistic, ethical and economic challenges of doing experimental work in multilingual theatre today.\u201d<\/p>\n\n\n\n

As for the other articles in this double edition of CS\/Sc.<\/em> There are many things to read and think about. The National Reports Section carries five very revealing reports on the theatre life in contemporary Scotland, Italy, Malta, Georgia, and Germany. There are two very beautiful and rich interviews from Portugal and the US, as well as \u00a0interviews with two of the most important British critics of the second half of the 20th<\/sup> century (Michael Billington and Ian Herbert); a brief essay by Don Rubin and Robin Breon on criticism and festivals\u2019 policy, and nine performance and four book reviews (selected and meticulously edited by Matti Linnavuori and Don Rubin respectively). Last but not least, the section with “Conference Papers”\u00a0 is back after a short period of absence with three poignant essays that touch upon the thorny issue of tolerance, edited by Ivan Medenica. We hope and believe this array of articles will provide enough stimuli for readers\u2019 critical reflection.<\/p>\n\n\n\n

For all this and much more I would\nlike to thank Don Rubin (managing editor) and Jeffrey Eric Jenkins (executive\neditor) for their generous support, the journal\u2019s team, the language and\nsection editors, the authors who help maintain the quality of the journal by\nentrusting us with their fresh and cutting-edge articles and, last but not\nleast, the thousands of our readers who visit our site and help spread its\ncontents and influence.<\/p>\n\n\n\n

CS\/Sc<\/em> aims to be a dynamic, forward-looking journal. Needless to say, therefore, we are already preparing our next issue on the Theatricality of Music, the Musicality of Theatre<\/em> (due June 2020. Guest editor: Octavian Saiu). <\/p>\n\n\n\n

Our doors are open to all. Join us,\nto continue producing new ideas for the next generation. <\/a><\/p>\n\n\n\n

\n\n\n\n\"\"\n\n\n\n

*<\/a>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. <\/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-804","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":1014,"url":"https:\/\/www.critical-stages.org\/20\/contact-cs-sc\/","url_meta":{"origin":804,"position":0},"title":"Contact CS\/Sc","author":"cs2-admin","date":"January 17, 2020","format":false,"excerpt":"","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":869,"url":"https:\/\/www.critical-stages.org\/20\/note-editoriale-nous-avons-une-bonne-raison-de-celebrer\/","url_meta":{"origin":804,"position":1},"title":"Note \u00e9ditoriale : Nous avons une bonne raison de c\u00e9l\u00e9brer !","author":"cs2-admin","date":"December 30, 2019","format":false,"excerpt":"Savas Patsalidis* BONNE NOUVELLE ANN\u00c9E \u00e0 tous les lecteurs de Critical Stages\/Sc\u00e8nes critiques (CS\/Sc) du monde entier. Notre revue a atteint dix ans, aussi avons-nous une bonne raison de c\u00e9l\u00e9brer. Non seulement avons-nous surv\u00e9cu, mais nous avons aussi r\u00e9ussi \u00e0 augmenter substantiellement le nombre et l\u2019envergure de notre lectorat qui\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\/UK.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":804,"position":2},"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. 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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":[]},{"id":367,"url":"https:\/\/www.critical-stages.org\/20\/international-theatre-and-performing-arts-festival-guide\/","url_meta":{"origin":804,"position":4},"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":804,"position":5},"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":[]}],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/pages\/804","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=804"}],"version-history":[{"count":13,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/pages\/804\/revisions"}],"predecessor-version":[{"id":932,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/pages\/804\/revisions\/932"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/media?parent=804"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}