{"id":280,"date":"2021-11-09T18:20:22","date_gmt":"2021-11-09T18:20:22","guid":{"rendered":"https:\/\/www.critical-stages.org\/24\/?page_id=280"},"modified":"2021-12-09T22:29:11","modified_gmt":"2021-12-09T22:29:11","slug":"cs-issue-no-24-editors","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/24\/cs-issue-no-24-editors\/","title":{"rendered":"CS Issue No 24 Editors"},"content":{"rendered":"\n

Special Topic<\/h4>\n\n\n\n
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Du\u0161ka Radosavljevi\u0107<\/a><\/strong> is a writer, dramaturg and Reader in Contemporary Theatre and Performance at the Royal Central School of Speech and Drama, University of London. Her scholarly work focuses on modes of authorship in contemporary theatre and, in addition, she has written for and about performance in various contexts\u202fincluding The Stage Newspaper<\/em>, Exeunt<\/em> and The Theatre Times<\/em>. Du\u0161ka is the author of the award-winning monograph Theatre-Making: Interplay Between Text and Performance in the 21st Century<\/em> (2013) and editor of The Contemporary Ensemble <\/em>(2013) and Theatre Criticism: Changing Landscapes <\/em>(2016).\u202fIn 2020-2022 Du\u0161ka has held a Leadership Fellowship funded by the Arts and Humanities Research Council (AHRC), in which she has collaborated with Flora Pitrolo on www.auralia.space<\/a>. Her previous AHRC-funded work also includes the Mums and Babies Ensemble<\/a>.<\/p>\n<\/div><\/div>\n\n\n\n

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Flora Pitrolo <\/strong>received her PhD in Drama, Theatre and Performance Studies in 2014. She has since worked as Research Associate at University of Kent on large Creative Europe and AHRC- funded projects and has lectured at Roehampton University, Queen Mary University of London, Goldsmiths College, Syracuse University London and at the Royal Academy of Dramatic Arts. Her work investigates alternative European performance and music cultures of the 1980s, with a special focus on Italy. She has published both as a scholar of performance and as an electronic music journalist. Her most recent large project is the collection Global Dance Cultures in the 1970s and 1980s: Disco Heterotopias <\/em>(forthcoming Palgrave 2022) co-edited with Marko Zubak. <\/p>\n<\/div><\/div>\n\n\n\n

Interviews, National Reports, Critics on Criticism<\/h4>\n\n\n\n
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Savas Patsalidis<\/strong> is Professor of Theatre Studies at the Aristotle University of Thessaloniki and the Drama School of the National Theatre of Northern Greece. 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. He has just finished a book on comedy (Comedy\u2019s Encomium<\/em>) which will be published in 2022 by University Studio Press. In addition to his academic activities, he writes theatre reviews for various ejournals. 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

Essays<\/h4>\n\n\n\n
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Yana Meerzon<\/strong> is Professor at the University of Ottawa and President of Canadian Association for Theatre Research. Trained as a professional theatre critic in Moscow, Russia (GITIS), she also holds a PHD from University of Toronto, Canada. Yana is the author of three books, with the latest volume Performance, Subjectivity, Cosmopolitanism<\/em> published by Palgrave in August 2020. She co-edited seven collections of articles, including Migration and Stereotypes in Performance and Culture<\/em> with David Dean and Daniel McNeil (Palgrave 2020). Her current research project is entitled \u201cBetween Migration and Neo-Nationalism(s): Performing the European Nation — Playing a Foreigner\u201d; and it has been funded by The Social Sciences and Humanities Research Council of Canada (SSHRC). Yana is the editor of the \u201cEssays Section\u201d of Critical Stages\/Sc\u00e8nes critiques<\/em>.<\/p>\n<\/div><\/div>\n\n\n\n

Conference Papers<\/h4>\n\n\n\n
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Ivan Medenica<\/strong>\u00a0(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\u00a0Teatron.\u00a0<\/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\u00a0Critical 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<\/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<\/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-280","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/pages\/280","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/comments?post=280"}],"version-history":[{"count":4,"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/pages\/280\/revisions"}],"predecessor-version":[{"id":508,"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/pages\/280\/revisions\/508"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/media?parent=280"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}