{"id":529,"date":"2020-12-20T08:45:25","date_gmt":"2020-12-20T08:45:25","guid":{"rendered":"https:\/\/www.critical-stages.org\/22\/?p=529"},"modified":"2022-02-05T09:57:33","modified_gmt":"2022-02-05T09:57:33","slug":"interview-with-maria-shevtsova","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/22\/interview-with-maria-shevtsova\/","title":{"rendered":"Sociology of Theatre and Performance: Interview with Maria Shevtsova"},"content":{"rendered":"\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Interview with Maria Shevtsova\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/WLrorwcTq6U?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"has-text-align-center has-small-font-size wp-block-paragraph\">Copyright <strong>\u00a9<\/strong> 2020 Maria Shevtsova<br><em>Critical Stages\/Sc\u00e8nes critiques<\/em> e-ISSN: 2409-7411<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><a href=\"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/\" target=\"_blank\" rel=\"noreferrer noopener\"><img decoding=\"async\" src=\"https:\/\/www.critical-stages.org\/wp-content\/uploads\/2021\/03\/88x31.png\" alt=\"Creative Commons Attribution International License\"\/><\/a><\/figure><\/div>\n\n\n\n<p class=\"has-text-align-center has-small-font-size wp-block-paragraph\">This work is licensed under the<br>Creative Commons Attribution International License CC BY-NC-ND 4.0.<\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":530,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[5],"tags":[],"class_list":["post-529","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews"],"jetpack_featured_media_url":"https:\/\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/11\/Shevtsova-featured.jpg","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":1053,"url":"https:\/\/www.critical-stages.org\/22\/note-from-the-editors\/","url_meta":{"origin":529,"position":0},"title":"Note from the Editors","author":"by Savas Patsalidis","date":"January 29, 2021","format":false,"excerpt":"Diana Damian Martin,* Anette Therese Pettersen,** Rui Pina Coelho*** This special issue of the section \u201cCritics on Criticism\u201d is a collaboratively edited collection of essays and reflections on theatre and performance criticism for and by young audiences. In our call for papers, we articulated theatre and performance as places of\u2026","rel":"","context":"In &quot;Critics on Criticism&quot;","block_context":{"text":"Critics on Criticism","link":"https:\/\/www.critical-stages.org\/22\/category\/critics-on-criticism\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2021\/01\/image3-1.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2021\/01\/image3-1.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2021\/01\/image3-1.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2021\/01\/image3-1.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":579,"url":"https:\/\/www.critical-stages.org\/22\/fabulamundi-workbook\/","url_meta":{"origin":529,"position":1},"title":"Contemporary Playwriting and Theatre Translation Cultures in Europe: A Report on Current Systems, Conventions and Perceptions","author":"by Savas Patsalidis","date":"December 1, 2020","format":false,"excerpt":"Margherita Laera* Abstract Commissioned by the E.U.-funded project,\u00a0Fabulamundi: Playwriting Europe Beyond Borders, this report assesses current practices, perceptions and norms in the field of contemporary playwriting and the translation of contemporary plays in nine different European countries: Austria, Czech Republic, France, Germany, Italy, Poland, Romania, Spain and the U.K. Mapping\u2026","rel":"","context":"In &quot;Essays&quot;","block_context":{"text":"Essays","link":"https:\/\/www.critical-stages.org\/22\/category\/essays\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/12\/image11.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/12\/image11.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/12\/image11.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/12\/image11.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":643,"url":"https:\/\/www.critical-stages.org\/22\/italy\/","url_meta":{"origin":529,"position":2},"title":"Italy","author":"by Savas Patsalidis","date":"December 2, 2020","format":false,"excerpt":"A contradictory picture of Italy\u2019s contemporary playwriting and theatre translation culture emerged from our survey and interviews. Many experts confirmed that interest in new plays has increased manifold in the past ten years, and our survey shows that activity levels are high. However, our qualitative data suggests that contemporary playwriting\u2026","rel":"","context":"In &quot;Fabulamundi Workbook&quot;","block_context":{"text":"Fabulamundi Workbook","link":"https:\/\/www.critical-stages.org\/22\/category\/fabulamundi-workbook\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/12\/image19.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/12\/image19.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/12\/image19.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/12\/image19.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":1032,"url":"https:\/\/www.critical-stages.org\/22\/young-critical-practices-ways-of-thinking-in-and-with-the-arts\/","url_meta":{"origin":529,"position":3},"title":"Young Critical Practices: Ways of Thinking in and With the Arts","author":"by Savas Patsalidis","date":"January 28, 2021","format":false,"excerpt":"Anette Therese Pettersen* Abstract This essay is a line of thought still in the making, in which I am interested in what a critical practice for youth is or can be. How is criticism by children and youth defined and practiced in the performing arts field today? With philosopher Rosi\u2026","rel":"","context":"In &quot;Critics on Criticism&quot;","block_context":{"text":"Critics on Criticism","link":"https:\/\/www.critical-stages.org\/22\/category\/critics-on-criticism\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2021\/01\/featured-1.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2021\/01\/featured-1.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2021\/01\/featured-1.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2021\/01\/featured-1.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":652,"url":"https:\/\/www.critical-stages.org\/22\/spain\/","url_meta":{"origin":529,"position":4},"title":"Spain","author":"by Savas Patsalidis","date":"December 2, 2020","format":false,"excerpt":"Over the 1980s and 1990s, Spain developed cultural politics supporting playwriting and has promoted the work of living dramatists writing in all its four national languages. The system is built on the work of a large number of key producing venues which have developed audiences\u2019 interest and taste in this\u2026","rel":"","context":"In &quot;Fabulamundi Workbook&quot;","block_context":{"text":"Fabulamundi Workbook","link":"https:\/\/www.critical-stages.org\/22\/category\/fabulamundi-workbook\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/12\/image32.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/12\/image32.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/12\/image32.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2020\/12\/image32.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":1101,"url":"https:\/\/www.critical-stages.org\/22\/the-young-peoples-stage-of-the-national-theatre-of-greece-cultural-politics-and-pedagogical-paradigms\/","url_meta":{"origin":529,"position":5},"title":"The Young People\u2019s Stage of the National Theatre of Greece: Cultural Politics and Pedagogical Paradigms","author":"by Savas Patsalidis","date":"January 16, 2021","format":false,"excerpt":"Zafiris Nikitas* Abstract The article looks into the cultural politics of the Young People\u2019s Stage of the National Theatre of Greece (2017\u201320) and examines the various initiatives of the institution that reinvigorate theatre for young audiences in Greece. Its focus is the social engagement and the pedagogical aspect that is\u2026","rel":"","context":"In &quot;Critics on Criticism&quot;","block_context":{"text":"Critics on Criticism","link":"https:\/\/www.critical-stages.org\/22\/category\/critics-on-criticism\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2021\/01\/image5-4.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2021\/01\/image5-4.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2021\/01\/image5-4.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/22\/wp-content\/uploads\/sites\/23\/2021\/01\/image5-4.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/22\/wp-json\/wp\/v2\/posts\/529","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/22\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.critical-stages.org\/22\/wp-json\/wp\/v2\/types\/post"}],"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=529"}],"version-history":[{"count":3,"href":"https:\/\/www.critical-stages.org\/22\/wp-json\/wp\/v2\/posts\/529\/revisions"}],"predecessor-version":[{"id":1426,"href":"https:\/\/www.critical-stages.org\/22\/wp-json\/wp\/v2\/posts\/529\/revisions\/1426"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/22\/wp-json\/wp\/v2\/media\/530"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/22\/wp-json\/wp\/v2\/media?parent=529"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.critical-stages.org\/22\/wp-json\/wp\/v2\/categories?post=529"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.critical-stages.org\/22\/wp-json\/wp\/v2\/tags?post=529"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}