{"id":8,"date":"2020-03-21T08:25:11","date_gmt":"2020-03-21T08:25:11","guid":{"rendered":"https:\/\/www.critical-stages.org\/21\/?page_id=8"},"modified":"2020-06-27T07:31:51","modified_gmt":"2020-06-27T07:31:51","slug":"cs-issue-no-21-editors","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/21\/cs-issue-no-21-editors\/","title":{"rendered":"CS Issue No 21 Editors"},"content":{"rendered":"\n

Special Topic<\/strong><\/h4>\n\n\n\n
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Octavian Saiu<\/strong>, Adjunct Secretary General of IATC and President of the Romanian Section of IATC \u2013 Theatre Studies, holds a PhD in Theatre Studies and another one in Comparative Literature. He has published articles in several international journals, as well as eleven books on theatre. Actively involved in various international festivals around the world, he has chaired and given talks mainly at Edinburgh International Festival and Sibiu International Theatre Festival. He has taught, coordinated workshops and offered master classes at universities in Europe, Africa, Asia, and the Middle East, as well as the Grotowski Institute.\nHe received the Critics\u2019 Award in 2010, the Award of the Union of Theatre Artists (UNITER) in 2013, and was awarded the Order of Cultural Merit by the President of Romania in 2020.<\/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. Yana is the editor of the \u201cEssay Section\u201d of Critical Stages\/Sc\u00e8nes critiques<\/em>.<\/p>\n<\/div><\/div>\n\n\n\n

Interviews, National and COVID-19 Reports<\/strong><\/h4>\n\n\n\n
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Savas Patsalidis<\/strong>, Professor of theatre and performance history and theory in the School of English (Aristotle University, Thessaloniki), the Hellenic Open University and the Drama School 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 writes theatre reviews for the ejournals 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 Forest Festival (organized by the National Theatre of Northern Greece) and the editor-in-chief of Critical Stages\/Sc\u00e8nes critiques<\/em>, the journal of the International Association of Theatre Critics. <\/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> is 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-8","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":871,"url":"https:\/\/www.critical-stages.org\/21\/editorial-note\/","url_meta":{"origin":8,"position":0},"title":"Editorial Note","author":"cs2-admin","date":"June 17, 2020","format":false,"excerpt":"Savas Patsalidis* Dear reader, I am very happy to announce the publication of the 21st issue of Critical Stages\/Sc\u00e8nes critiques which, in terms of quantity, is thus far the richest of all, with 70 contributions by 40 women and 38 men from 34 countries (including New Zealand, Mexico, Martinique, Latvia,\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/06\/Spats.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":26,"url":"https:\/\/www.critical-stages.org\/21\/inter-connecting-a-collection-of-useful-links\/","url_meta":{"origin":8,"position":1},"title":"Inter-Connecting: A Collection of Useful Links","author":"cs2-admin","date":"March 21, 2020","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":24,"url":"https:\/\/www.critical-stages.org\/21\/international-theatre-and-performing-arts-festival-guide\/","url_meta":{"origin":8,"position":2},"title":"International Theatre and Performing Arts Festival Guide","author":"cs2-admin","date":"March 21, 2020","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\/21\/wp-content\/uploads\/sites\/22\/2020\/05\/flag-svk-400.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":991,"url":"https:\/\/www.critical-stages.org\/21\/aural-oral-dramaturgies\/","url_meta":{"origin":8,"position":3},"title":"Aural\/Oral Dramaturgies","author":"cs2-admin","date":"October 25, 2020","format":false,"excerpt":"Call for Papers & Essays Guest Editors:\u00a0Du\u0161ka Radosavljevi\u0107\u00a0and\u00a0Flora PitroloDecember 2021 (#24) Recent decades have seen an increased interest of theatre-makers in speech and sound as a starting point for making theatre and performance. This trend could be traced back to verbatim theatre of the early 2000s, evolving out of the\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/10\/FR.png?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":1009,"url":"https:\/\/www.critical-stages.org\/21\/table-of-contents\/","url_meta":{"origin":8,"position":4},"title":"Table of Contents","author":"cs2-admin","date":"February 12, 2021","format":false,"excerpt":"Editorial NoteSavas Patsalidis, Editor-in-Chief Special Topic The Theatricality of Music, the Musicality of TheatreGuest Editor:\u00a0Octavian Saiu\u00a0(Romania) The New Soundscape of Global Culture: Editorial NoteOctavian Saiu Ideology and Machines in the Work of Richard WagnerThemelis Glynatsis Interaction Between Music and Theatre in Identity Processes: Croatian ExampleIva Hraste-So\u010do Broadway Rap Battles and\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":830,"url":"https:\/\/www.critical-stages.org\/21\/editorial\/","url_meta":{"origin":8,"position":5},"title":"\u00c9ditorial","author":"cs2-admin","date":"June 14, 2020","format":false,"excerpt":"Savas Patsalidis* Ch\u00e8res lectrices, chers lecteurs, Je suis tr\u00e8s heureux de lancer la publication du 21e num\u00e9ro de Critical Stages\/Sc\u00e8nes critiques qui, par le nombre d\u2019articles, est le plus riche jusqu\u2019\u00e0 pr\u00e9sent, offrant 70 contributions de 40 collaboratrices et 38 collaborateurs venant de 34 pays (de la Nouvelle-Z\u00e9lande au Mexique,\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/06\/Spats.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/pages\/8","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/comments?post=8"}],"version-history":[{"count":8,"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/pages\/8\/revisions"}],"predecessor-version":[{"id":931,"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/pages\/8\/revisions\/931"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/21\/wp-json\/wp\/v2\/media?parent=8"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}