{"id":20,"date":"2024-09-01T09:33:03","date_gmt":"2024-09-01T09:33:03","guid":{"rendered":"https:\/\/www.critical-stages.org\/30\/?page_id=20"},"modified":"2024-12-20T18:21:24","modified_gmt":"2024-12-20T18:21:24","slug":"cs-issue-no-30-editors","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/30\/cs-issue-no-30-editors\/","title":{"rendered":"CS Issue No 30 Editors"},"content":{"rendered":"\n

Special Topic<\/h4>\n\n\n\n
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Aikaterini Delikonstantinidou<\/strong> is Assistant Professor, Faculty of English Language and Literature, National and Kapodistrian University of Athens, Greece, where she specializes in contemporary Anglophone theater. She completed her PhD. at Aristotle University of Thessaloniki, Greece, exploring the reception of the ancient Greek tragic myth in the Latino\/american theater. She subsequently completed post-doctoral research on the applications of myth-based digital theater in adult education, Department of Theatre Studies, University of Athens, Greece. Delikonstantinidou has co-edited special issues of academic journals and has published articles in Greek and international journals, as well as in collective volumes, and has presented her research at conferences in Greece and abroad. Her monograph, titled Latinx Reception of Greek Tragic Myth: Healing (and) Radical Politics<\/em> was published in 2020 by Peter Lang. Her most recent paper, “Emotional Literacy via the System for Digital Theater in Education,” is included in the collective volume Stanislavsky and Emotion: Approaches Through Language & Culture<\/em> (forthcoming, Routledge). Her scholarly interests lie in contemporary theatre, reception studies, digital humanities and ecocriticism.<\/p>\n<\/div><\/div>\n\n\n\n

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Hana Strej\u010dkov\u00e1<\/strong> (PhD) graduated from the Prague Academy of Performing Arts, where she majored in dramaturgy and directing in the Department of Drama Theatre. She studied physical theatre at the Jacques Lecoq International Theatre School in Paris and graduated from the Pascale Lecoq Scenography Studio L.E.M. She also graduated in Creative Pedagogy from DAMU KATaP and completed a three-level training in Meyerhold\u2019s Theatre Biomechanics under the guidance of Master G. Bogdanov. She defended her PhD at the Department of Nonverbal Theatre at the Academy of Performing Arts in Prague. As a theatre director, she collaborates with the National Theatre in Prague (Laterna magika). She is a co-founder of the FysioART art association, which aims at interactive nonverbal theatre for children and young people, including theatre for early years. As a researcher, she collaborates with the Arts and Theatre Institute in Prague, and she lectures at Prague Academy and Palack\u00fd University. She is an Executive committee member of the Association of the Czech Theatre Critics AICT\/IACT.<\/p>\n<\/div><\/div>\n\n\n\n

Interviews, Inter\/National Reflections<\/h4>\n\n\n\n
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Savas Patsalidis<\/strong> is Professor Emeritus in Theatre Studies at Aristotle University of Thessaloniki, where he has taught at the School of English for close to 35 years. He has also taught at the Drama School of the National Theatre of Northern Greece, the Hellenic Open University and the graduate program of the Theatre Department of 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. In 2019 his book Theatre & Theory II: About Topoi, Utopias and Heterotopias<\/em> was published by University Studio Press. In 2022 his book-length study Comedy\u2019s Encomium: The Seriousness of Laughter<\/em>, was also published by University Studio Press. In addition to his academic activities, he writes theatre reviews for various journals. He is on the Executive Committee of the Hellenic Association of Theatre and Performing Arts Critics, a member of the curators\u2019 team of Forest International 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 of Theatre Studies at the University of Ottawa. With four single authored books and nine co-edited collections, most recently Performing Nationalism in Russia<\/em> (Cambridge UPress, 2024) and Palgrave Handbook on Theatre and Migration<\/em> (Palgrave Macmillan, 2023; with Steve Wilmer), Professor Yana Meerzon, specializes in theoretical approaches to contemporary performance and dramaturgy, questions of displacement, multilingualism, and identity politics. For the past two decades, Professor Meerzon has been studying theatrical representations of migration created by migrant artists in Europe and North America. With the rise of political populism, religious fundamentalism, and nationalism, she turned to the issues of borders and politics of nation building, within which today\u2019s practices and discussions of global migration take place. A former President of Canadian Association for Theatre Research (CATR, 2020-2022), Meerzon is a co-editor of the journal Critical Stages<\/em>, published by International Association of Theatre Critics, and also is a co-editor of the book series Palgrave Studies in Performance and Migration (with Steve Wilmer).<\/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 trustee of the Shakespeare Oxford Fellowship and President of the Shakespeare Authorship Coalition (doubtaboutwill.org<\/a>). <\/p>\n<\/div><\/div>\n\n\n\n

Critics on Criticism<\/h4>\n\n\n\n
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Ivan Medenica<\/strong> (PhD), works at the Faculty of Dramatic Arts (Belgrade) as a professor of The History of World Drama and Theatre. Medenica has given guest lectures at Humboldt University (Berlin), The Yale School of Drama (USA), AGRFT (Ljubljana), and NATFIZ (Sofia). He is an active theatre critic and has received six times the national award for the best theatre criticism. He was the artistic director of two major theatre festivals in Serbia, Sterijino Pozorje and Bitef. He was a fellow in the Academie Schloss Solitude in Sttutgart and the International Research Center for Interweaving Performance Cultures (Freie Universit\u00e4t) in Berlin. He is a member of the IATC Executive Committee and its Vice President.<\/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-20","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/30\/wp-json\/wp\/v2\/pages\/20","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/30\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/30\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/30\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/30\/wp-json\/wp\/v2\/comments?post=20"}],"version-history":[{"count":6,"href":"https:\/\/www.critical-stages.org\/30\/wp-json\/wp\/v2\/pages\/20\/revisions"}],"predecessor-version":[{"id":937,"href":"https:\/\/www.critical-stages.org\/30\/wp-json\/wp\/v2\/pages\/20\/revisions\/937"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/30\/wp-json\/wp\/v2\/media?parent=20"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}