{"id":18,"date":"2025-09-24T10:22:28","date_gmt":"2025-09-24T10:22:28","guid":{"rendered":"https:\/\/www.critical-stages.org\/32\/?page_id=18"},"modified":"2025-12-27T08:36:36","modified_gmt":"2025-12-27T08:36:36","slug":"cs-issue-no-32-editors","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/32\/cs-issue-no-32-editors\/","title":{"rendered":"CS Issue No 32 Editors"},"content":{"rendered":"\n

Special Topic<\/h4>\n\n\n\n
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Jen-Hao Hsu (Walter)<\/strong> is an associate professor in Theatre Arts Department at National Sun Yat-Sen University, Kaohsiung, Taiwan. He earned his PhD in Theatre Arts from Cornell University in Ithaca, New York. He has published academic articles on modern and contemporary Chinese theatre studies in journals in Australia, Taiwan and mainland China. His research looks at the formations of modern and contemporary theatres\/performances in the Chinese-speaking world, especially in relation to critical topics of modernity, sexuality and nationality.<\/p>\n<\/div><\/div>\n\n\n\n

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Sir Anril P. Tiatco<\/strong>\u00a0is a full professor of dramaturgy and performance studies at the University of the Philippines Diliman. He was a recipient of the Asian Cultural Council New York Fellowship in 2024. An elected member of the International Federation for Theatre Research (IFTR), he is the past immediate convener of the IFTR\u2019s Asian Theatre Working Group. Tiatco is also currently an editor of Contemporary Theatre Review<\/em>.<\/p>\n<\/div><\/div>\n\n\n\n

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Deniz Ba\u015far<\/strong> is a theatre researcher and playwright from Turkey. She received her PhD from Concordia University\u2019s Humanities Department in 2021; she was a FRQSC post-doctoral fellow in Bo\u011fazi\u00e7i University during the years 2021-2023. Parts of her research on puppetry and political performativity have been published in anthologies and journals since 2019. She is currently working on two edited volumes about performative politics on and off stage in Turkey with her colleagues Dr. Eylem Ejder and Dr. Pieter Verstraete. <\/a><\/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","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-18","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/32\/wp-json\/wp\/v2\/pages\/18","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/32\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/32\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/32\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/32\/wp-json\/wp\/v2\/comments?post=18"}],"version-history":[{"count":4,"href":"https:\/\/www.critical-stages.org\/32\/wp-json\/wp\/v2\/pages\/18\/revisions"}],"predecessor-version":[{"id":910,"href":"https:\/\/www.critical-stages.org\/32\/wp-json\/wp\/v2\/pages\/18\/revisions\/910"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/32\/wp-json\/wp\/v2\/media?parent=18"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}