Critical Stages/Scènes critiques

The IATC journal/Revue de l'AICT – December/Décembre 2020: Issue No 22

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Essays
National Reports
Critics on Criticism
Interviews
Performances
Books
In Memoriam

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Theatre Criticism in the Age of Self-Isolation and Social Distancing
Co-Editors: Yana Meerzon (Canada), Savas Patsalidis (Greece), Aisling Murphy (Canada)

Special Topic

Editors’ Comment: Theatre (Criticism) the Day After

Yana Meerzon, Savas Patsalidis, Aisling Murphy

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How to Write About Theatre Online Workshops

Mark Fisher

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CATR Digital Criticism Pedagogies Workshop 2020 Recap

Karen Fricker, Michelle Macarthur, Aisling Murphy, Robyn Grant-Moran, Mae Smith

Special Topic

Arts Journalism and Theatre in the Pandemic Era: Mutations, Redefinitions and Challenges

Zoe Ververopoulou

Special Topic

Chilean Crises Lead to Experiments in Online Theatre

Pablo Cisternas, Milena Grass Kleiner, Andrés Kalawski, Cristián Opazo

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Le théâtre en confinement : qu’est-ce que nous avons regardé en Turquie ?

Ece Yassitepe Ayyildiz

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Tercera Llamada #LiveOnlineNow: Notes on a Virtual Theatre Experience

Fernando Valcheff García, Regina Solis Mirandal, Sara Hermo Nieto

Special Topic

The Digital Sublime and Fragility in the Time of COVID-19 and the Eco-crisis: The Dynamics of Becoming

Hanna Helavuori

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Electric Dance, or How to Talk with Birds

Johannes Birringer

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Lockdown Verses and Anxieties of Presence: How Polish Theatre Rhymed a Case for Its Purpose on the Pandemic Stage

Kasia Lech

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Some Reflections on Theatre in a Post (Pre-) Pandemic Moscow

Alla Shenderova

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Ceci n’est pas un théâtre: Theatre in the Age of COVID

Mark Brown

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The Performance of Protest in a Post-COVID World: A Theatre Critic’s Perspective from India

Deepa Punjani

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Not Here, Not Now? Liveness Revisited

Małgorzata Sugiera

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Brecht Is More Relevant Than Ever in the Time of COVID-19

Jisoo Nam

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Le théâtre survivra-t-il à la tentation du virtuel ?

Tibor Egervari

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Pandemic V-Effect: The Plague as Theatre Criticism

Felipe Cervera and Azadeh Sharifi

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Theatre and Censorship in the Pandemic

Patricia Nikolova

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Misplaced Self in the Misplaced City

Tan Tan (Weiwei Sun)

Special Topic

Migrant Representation in the U.K. Theatre Industry: How Covid-19 Catalysed a Movement

Sally Beck Wippman (contrib. Zhui-Ning Chang, Lara Parmiani)

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CS/Sc Issue No 22 Section Editors & Editorial Board

Section Editors: Bios
Editorial Board

Editorial Note

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Tadashi Suzuki, Thalia Prize and IATC Conference (16/4/2021)

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Interview with Maria Shevtsova

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Critical Stages/Scènes critiques e-ISSN:2409-7411

All articles published by CS/Sc are licensed under the
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Critical Stages/Scènes critiques

Special Topic

Editors’ Comment: Theatre (Criticism) the Day After

How to Write About Theatre Online Workshops

CATR Digital Criticism Pedagogies Workshop 2020 Recap

Arts Journalism and Theatre in the Pandemic Era: Mutations, Redefinitions and Challenges

Chilean Crises Lead to Experiments in Online Theatre

Le théâtre en confinement : qu’est-ce que nous avons regardé en Turquie ?

Tercera Llamada #LiveOnlineNow: Notes on a Virtual Theatre Experience

Internet: Curse or Blessing

The Digital Sublime and Fragility in the Time of COVID-19 and the Eco-crisis: The Dynamics of Becoming

Electric Dance, or How to Talk with Birds

Lockdown Verses and Anxieties of Presence: How Polish Theatre Rhymed a Case for Its Purpose on the Pandemic Stage

Some Reflections on Theatre in a Post (Pre-) Pandemic Moscow

Ceci n’est pas un théâtre: Theatre in the Age of COVID

The Performance of Protest in a Post-COVID World: A Theatre Critic’s Perspective from India

Not Here, Not Now? Liveness Revisited

Brecht Is More Relevant Than Ever in the Time of COVID-19

Le théâtre survivra-t-il à la tentation du virtuel ?

Pandemic V-Effect: The Plague as Theatre Criticism

After Devitalized Theatre

Theatre and Censorship in the Pandemic

Misplaced Self in the Misplaced City

Migrant Representation in the U.K. Theatre Industry: How Covid-19 Catalysed a Movement