{"id":362,"date":"2019-11-11T16:00:25","date_gmt":"2019-11-11T16:00:25","guid":{"rendered":"https:\/\/www.critical-stages.org\/20\/?p=362"},"modified":"2020-01-11T18:15:13","modified_gmt":"2020-01-11T18:15:13","slug":"introductory-words","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/20\/introductory-words\/","title":{"rendered":"Introductory Words"},"content":{"rendered":"\n<p><strong>Yana\nMeerzon<\/strong><strong><\/strong><a href=\"#end\" name=\"back\">*<\/a><\/p>\n\n\n\n<p>Dear reader,<\/p>\n\n\n\n<p>I am happy to present the December\n2019 \u201cESSAY SECTION\u201d (# 20) of the journal <em>Critical\nStages\/Sc\u00e8nes critiques<\/em>. This section\nis dedicated to urgent issues related to theater and performance making, ways\nof thinking and writing about theatre and performing arts, ways of viewing and\nreflecting practices, pedagogies of performance and text analysis, practices of\ndramaturgy, interdisciplinarity, transcultural approaches and digitalization of\ncommunication practices in theatre and cultural performance, among other\nissues. Our aim is to offer a broader practical, aesthetic, historical and\ntheoretical outlet to those interested in recent developments in theatre and\nperformance across national and disciplinary boundaries. To this end, we\nwelcome a wide range of submissions in English and\/or French.<\/p>\n\n\n\n<p>The December 2019 issue continues a\nconversation on theatre, migration and multilingualism that Katharina Pewny,\nGunther Martens and I started in 2016, in our research project on contemporary\ntheatre and multilingualism sponsored by the Faculty of Arts and Philosophy at\nGhent University. \u201cMigration and Multilingualism\u201d (a special issue of the\njournal <em>Modern Drama <\/em>[N. 61.3; 2018]) presented the first part of the\nproject, and the collection <em>Dramaturgy of Migration: Staging Multilingual Encounters in Contemporary\nTheatre<\/em> (Routledge 2019) constitutes the second. The\nconversation is still at its beginnings; the seven articles and dialogues that\nmake up the current section are the further proof of the importance and\nrichness of this field, as we continue studying dramaturgical, political,\nartistic, ethical and economic challenges of doing experimental work in\nmultilingual theatre today. &nbsp;<\/p>\n\n\n\n<p><a name=\"end\">&nbsp;<\/a>I hope this conversation will be of significant interest for you as well; and as a new editor of this section I am looking forward to other exciting articles and proposals related to these subjects to be featured in the future editions of this section.<\/p>\n\n\n\n<p><a name=\"end\" href=\"#back\">*<\/a><strong>Yana Meerzon<\/strong>&nbsp;is Professor at the University of Ottawa. She has published on theatre of exile and migration, cultural and interdisciplinary studies. Her books include&nbsp;<em>A Path of the Character: Michael Chekhov\u2019s Inspired Acting and Theatre Semiotics<\/em>&nbsp;(2005) and&nbsp;<em>Performing Exile \u2013 Performing Self: Drama, Theatre, Film<\/em>&nbsp;(Palgrave 2012). She has also co-edited several book collections and special issues of journals on these topics. As of this issue of&nbsp;<em>Critical Stages\/Sc\u00e8nes critiques<\/em>, Yana is the editor of the journal\u2019s \u201cEssay Section\u201d.<\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":205,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[4],"tags":[],"class_list":["post-362","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-essays"],"jetpack_featured_media_url":"https:\/\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/10\/Meerzon.jpeg","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":534,"url":"https:\/\/www.critical-stages.org\/20\/theatre-at-the-crossroads-trends-and-challenges-of-georgian-theatre-today\/","url_meta":{"origin":362,"position":0},"title":"Theatre at the Crossroads:  Trends and Challenges of Georgian Theatre Today","author":"Yana Meerzon","date":"December 3, 2019","format":false,"excerpt":"Natalia Tvaltchrelidze* Abstract The paper overviews recent tendencies in the theatre life in Georgia. In particular, it presents the latest statistical data and audience research on theatre; it discusses theatre festival life in Georgia and the latest trends in the productions of young directors in the country.Keywords: Georgia, theatre, festivals,\u2026","rel":"","context":"In &quot;National Reports&quot;","block_context":{"text":"National Reports","link":"https:\/\/www.critical-stages.org\/20\/category\/national-reports\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image5-3.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\/image5-3.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image5-3.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image5-3.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":728,"url":"https:\/\/www.critical-stages.org\/20\/theatre-in-malta-amateur-practice-and-professional-aspirations\/","url_meta":{"origin":362,"position":1},"title":"Theatre in Malta: Amateur Practice and Professional Aspirations","author":"Yana Meerzon","date":"December 16, 2019","format":false,"excerpt":"Vicki Ann Cremona* Abstract This article provides a general outline of theatre in Malta where the small size of the archipelago (316m2) makes it difficult to develop professional theatre. It evaluates the issues theatre faces when confronted by political constraints that affect cultural policies and outlooks. It looks at the\u2026","rel":"","context":"In &quot;National Reports&quot;","block_context":{"text":"National Reports","link":"https:\/\/www.critical-stages.org\/20\/category\/national-reports\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image7-3.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\/image7-3.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image7-3.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image7-3.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":523,"url":"https:\/\/www.critical-stages.org\/20\/at-the-end-of-the-day-an-actor-interview-with-tiago-rodrigues\/","url_meta":{"origin":362,"position":2},"title":"At the End of the Day, an Actor: Interview with Tiago Rodrigues","author":"Yana Meerzon","date":"December 3, 2019","format":false,"excerpt":"by Rui Pina Coelho* Tiago Rodrigues is not only the most reputed theatre maker in the contemporary Portuguese theatre and performance landscape. He is one of the most prominent European artists. His approach tends to be Wellesian, finding in acting, writing and directing his most visible expressive tools. Currently Artistic\u2026","rel":"","context":"In &quot;Interviews&quot;","block_context":{"text":"Interviews","link":"https:\/\/www.critical-stages.org\/20\/category\/interviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image8.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\/image8.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image8.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image8.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":296,"url":"https:\/\/www.critical-stages.org\/20\/the-dramaturgy-of-non-belonging-jeroen-coppens-in-dialogue-with-motus-on-sharing-identity-in-panorama\/","url_meta":{"origin":362,"position":3},"title":"The Drama(turgy) of Non-Belonging:  Jeroen Coppens in Dialogue with Motus on Sharing Identity in Panorama","author":"Yana Meerzon","date":"October 28, 2019","format":false,"excerpt":"Jeroen Coppens* and Motus** Abstract This article presents a dialogue with the founders of the Motus\u00a0theatre collective,\u00a0Daniela Nicol\u00f2\u00a0and Enrico\u00a0Casagrande. It discusses the performance\u00a0Panorama\u00a0(2017), in regard to the recurring themes\u00a0of identity and\u00a0exclusion, (post-)nationalism and (non-)belonging in the work of Motus, and\u00a0explores how these\u00a0themes relate to the issue of verbal expression and\u00a0multilinguality\u2026","rel":"","context":"In &quot;Essays&quot;","block_context":{"text":"Essays","link":"https:\/\/www.critical-stages.org\/20\/category\/essays\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/11\/image2-2.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\/11\/image2-2.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/11\/image2-2.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/11\/image2-2.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":282,"url":"https:\/\/www.critical-stages.org\/20\/a-case-study-of-the-intercultural-production-of-vaike-jumalanna-the-little-goddess\/","url_meta":{"origin":362,"position":4},"title":"A Case Study of the Intercultural Production of V\u00e4ike Jumalanna (The Little Goddess)","author":"Yana Meerzon","date":"October 29, 2019","format":false,"excerpt":"Izumi Ashizawa* Abstract A devising theatre practitioner, Izumi Ashizawa has been facing the challenges and privileges of creating multi-lingual and intercultural works in different countries for the past 15 years. Each project presented its own unique developmental process, based on the specific\u00a0traits of the local actors, designers and technicians. In\u2026","rel":"","context":"In &quot;Essays&quot;","block_context":{"text":"Essays","link":"https:\/\/www.critical-stages.org\/20\/category\/essays\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/11\/image2-1.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\/11\/image2-1.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/11\/image2-1.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/11\/image2-1.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":499,"url":"https:\/\/www.critical-stages.org\/20\/criticism-on-the-critical-list-just-a-canadian-issue\/","url_meta":{"origin":362,"position":5},"title":"Criticism on the Critical List: Just a Canadian Issue?","author":"Yana Meerzon","date":"December 14, 2019","format":false,"excerpt":"Robin Breon* and Don Rubin** The face of arts journalism is changing again\u2015and not for the better \u2015at least in Canada. Is it changing in other countries as well? In the last two to three years, major theatres and major festivals across the country have begun to cut back on\u2026","rel":"","context":"In &quot;Critics on Criticism&quot;","block_context":{"text":"Critics on Criticism","link":"https:\/\/www.critical-stages.org\/20\/category\/critics-on-criticism\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image12-1.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\/image12-1.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image12-1.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/20\/wp-content\/uploads\/sites\/21\/2019\/12\/image12-1.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/posts\/362","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/types\/post"}],"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=362"}],"version-history":[{"count":5,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/posts\/362\/revisions"}],"predecessor-version":[{"id":388,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/posts\/362\/revisions\/388"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/media\/205"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/media?parent=362"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/categories?post=362"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.critical-stages.org\/20\/wp-json\/wp\/v2\/tags?post=362"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}