{"id":42,"date":"2020-09-23T15:17:16","date_gmt":"2020-09-23T15:17:16","guid":{"rendered":"https:\/\/www.critical-stages.org\/22\/?page_id=42"},"modified":"2021-01-19T09:27:51","modified_gmt":"2021-01-19T09:27:51","slug":"cs-issue-no-22-editors","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/22\/cs-issue-no-22-editors\/","title":{"rendered":"CS Issue No 22 Editors"},"content":{"rendered":"\n

Special Topic, Interviews, National Reports<\/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

Special Topic and Essays<\/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

Special Topic<\/h4>\n\n\n\n
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Aisling Murphy<\/strong> is a fifth-year theatre student at the University of Ottawa in Canada. She is also a playwright: her first play, Feast<\/em>, is a verbatim collage about the work and critical archival of British playwright Sarah Kane, and will be featured as a case study in the upcoming Routledge publication Undergraduate Research in Theatre<\/em>. Aisling is also a theatre critic; her work has been published by both Capital Critics Circle<\/em> and The Theatre Times<\/em>. Aisling is the current Arts & Culture Editor for the University of Ottawa’s The Fulcrum<\/em>, as well as a Research Assistant for uOttawa’s Department of Theatre.<\/p>\n<\/div><\/div>\n\n\n\n

Critics on Criticism<\/h4>\n\n\n\n
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Diana Damian Martin<\/strong>\u00a0is a writer and academic working at the intersection between writing, politics and performance. She is a Senior Lecturer in Performance Arts at the Royal Central School of Speech and Drama, where is currently leading the BA (Hons) Contemporary Performance Practice-Performance Arts course. She is editor of [Margins] section of Performance Philosophy Journal, part of Performance Studies International\u2019s Future Advisory Board and co-convenes the working group Documenting Performance for the Theatre and Performance Research Association.<\/p>\n<\/div><\/div>\n\n\n\n

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Anette Therese Pettersen<\/strong>\u00a0(b.1979) is a theatre and dance researcher, critic, editor and curator. Currently a PhD research fellow at the University of Agder in Norway. Co-founder of projects of criticism, such as Writingshop, Critics in Conversation, Dansekritikerr\u00f8rsla (Dance critic movement) and Performing Criticism Globally. Editor of a series of books on criticism, theatre and dance, such as\u00a0Criticism for an Absent Reader<\/em>\u00a0(2018).<\/p>\n<\/div><\/div>\n\n\n\n

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Rui Pina Coelho<\/strong>\u00a0(\u00c9vora, b. 1975) is an Assistant Professor at the School of Arts and Humanities of the University of Lisbon, Director of the Centre for Theatre Studies (FLUL) and Director of\u00a0Sinais de Cena:<\/em>\u00a0Performing Arts and Theatre Studies Journal<\/em>.\u00a0He has coordinated the volume\u00a0Contemporary Portuguese Theatre: Experimentalism, Politics and Utopia [working title]<\/em>\u00a0(TNDMII \/ Bicho do Mato, 2017). He coordinates the Theatre Writing Laboratory of the D. Maria II National Theatre (2015\u201319).\u00a0Since 2010, he has been collaborating regularly with TEP\u2014Teatro Experimental do Porto\u2014as a playwright and dramaturgist.<\/p>\n<\/div><\/div>\n\n\n\n

Performance Reviews<\/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, In Memoriam<\/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":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"footnotes":""},"class_list":["post-42","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":899,"url":"https:\/\/www.critical-stages.org\/22\/editorial-note-about-theatre-criticism\/","url_meta":{"origin":42,"position":0},"title":"Editorial Note","author":"cs2-admin","date":"December 13, 2020","format":false,"excerpt":"About Theatre Criticism Savas Patsalidis* The pandemic is still making headlines around the world, despite the arrival of the vaccines. As far as theatre is concerned, and given the state of world economies, it is not easy to imagine how the \u201cnew reality\u201d of a post-COVID world will turn out.\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/10\/Spats.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":45,"url":"https:\/\/www.critical-stages.org\/22\/inter-connecting-a-collection-of-useful-links\/","url_meta":{"origin":42,"position":1},"title":"Inter-Connecting: A Collection of Useful Links","author":"cs2-admin","date":"September 23, 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":47,"url":"https:\/\/www.critical-stages.org\/22\/international-theatre-and-performing-arts-festival-guide\/","url_meta":{"origin":42,"position":2},"title":"International Theatre and Performing Arts Festival Guide","author":"cs2-admin","date":"September 23, 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\/22\/wp-content\/uploads\/sites\/23\/2020\/09\/image7-1.jpeg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":1110,"url":"https:\/\/www.critical-stages.org\/22\/table-of-contents\/","url_meta":{"origin":42,"position":3},"title":"Table of Contents","author":"cs2-admin","date":"January 26, 2021","format":false,"excerpt":"Editorial Note: About Theatre CriticismSavas Patsalidis, Editor-in-Chief Special Topic Theatre Criticism in the Age of Self-Isolation and Social DistancingCo-Editors:\u00a0Yana Meerzon\u00a0(Canada),\u00a0Savas Patsalidis\u00a0(Greece),\u00a0Aisling Murphy\u00a0(Canada) Editors\u2019 Comment: Theatre (Criticism) the Day AfterYana Meerzon, Savas Patsalidis, Aisling Murphy How to Write About Theatre Online WorkshopsMark Fisher CATR Digital Criticism Pedagogies Workshop 2020 RecapKaren Fricker,\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1187,"url":"https:\/\/www.critical-stages.org\/22\/publications\/","url_meta":{"origin":42,"position":4},"title":"Publications","author":"cs2-admin","date":"April 21, 2021","format":false,"excerpt":"Special Topic Theatre Criticism in the Age of Self-Isolation and Social DistancingCo-Editors:\u00a0Yana Meerzon\u00a0(Canada),\u00a0Savas Patsalidis\u00a0(Greece),\u00a0Aisling Murphy\u00a0(Canada) Editors\u2019 Comment: Theatre (Criticism) the Day AfterYana Meerzon, Savas Patsalidis, Aisling Murphy How to Write About Theatre Online WorkshopsMark Fisher CATR Digital Criticism Pedagogies Workshop 2020 RecapKaren Fricker, Michelle Macarthur, Aisling Murphy, Robyn Grant-Moran, Mae\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":902,"url":"https:\/\/www.critical-stages.org\/22\/editorial-a-propos-de-la-critique-theatrale\/","url_meta":{"origin":42,"position":5},"title":"\u00c9ditorial","author":"cs2-admin","date":"December 13, 2020","format":false,"excerpt":"\u00c0 propos de la critique th\u00e9\u00e2trale Savas Patsalidis* La pand\u00e9mie continue de faire les manchettes autour du monde, malgr\u00e9 l\u2019arriv\u00e9e des vaccins. Quant au th\u00e9\u00e2tre, et vu l\u2019\u00e9tat de l\u2019\u00e9conomie mondiale, il n\u2019est pas simple d\u2019imaginer quelle sera la \u00ab\u00a0nouvelle r\u00e9alit\u00e9\u00a0\u00bb d\u2019un monde post-COVID. L\u2019histoire nous a montr\u00e9 que les\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/10\/Spats.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/22\/wp-json\/wp\/v2\/pages\/42","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/22\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/22\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/22\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/22\/wp-json\/wp\/v2\/comments?post=42"}],"version-history":[{"count":11,"href":"https:\/\/www.critical-stages.org\/22\/wp-json\/wp\/v2\/pages\/42\/revisions"}],"predecessor-version":[{"id":1185,"href":"https:\/\/www.critical-stages.org\/22\/wp-json\/wp\/v2\/pages\/42\/revisions\/1185"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/22\/wp-json\/wp\/v2\/media?parent=42"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}