{"id":18,"date":"2026-03-01T19:56:34","date_gmt":"2026-03-01T19:56:34","guid":{"rendered":"https:\/\/www.critical-stages.org\/33\/?page_id=18"},"modified":"2026-06-09T17:54:45","modified_gmt":"2026-06-09T17:54:45","slug":"cs-issue-no-33-editors","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/33\/cs-issue-no-33-editors\/","title":{"rendered":"CS Issue No 33 Editors"},"content":{"rendered":"\n

Special Topic<\/h4>\n\n\n\n
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Manuel Garc\u00eda Mart\u00ednez<\/strong> holds a PhD in Theatre Studies from the University of Paris 8 (France) and is a senior lecturer at the University of Santiago de Compostela. He currently teaches courses on French literature and culture, as well as emerging literatures in the field of theatre. His research focuses on the analysis of the representation of time and acceleration in dramatic texts and contemporary performances, with a particular interest in contemporary innovations, and methodologies for analysing theatrical performances. He is a member of the research group Calder\u00f3n GI-1377.<\/p>\n<\/div><\/div>\n\n\n\n

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Annita Costa Malufe<\/strong> is a researcher at the University of Salamanca. She is also a collaborating researcher at the Margarida Losa Institute of Comparative Literature at the University of Porto, where she is part of a research group on poetry and performance. She holds a PhD in Literary Theory and History from the State University of Campinas (Unicamp), Brazil, and is the author of two books of essays: Territ\u00f3rios dispersos: a po\u00e9tica de Ana Cristina Cesar<\/em> (2006) and Po\u00e9ticas da iman\u00eancia: Ana Cristina Cesar e Marcos Siscar<\/em> (2011), both funded by the S\u00e3o Paulo Research Foundation (FAPESP). She has completed two postdoctoral research projects: Traces of Beckett in Contemporary Literature<\/em> at the University of S\u00e3o Paulo, and Literary Methods in Gilles Deleuze<\/em> at PUC-SP. She is also the author of seven books of poetry.<\/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 I<\/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

Essays II<\/h4>\n\n\n\n
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Nelson Barre<\/strong> is Associate Professor of Theatre at Roanoke College where he teaches courses in Theatre History, Dramaturgy, Directing, and Musical Theatre. His research focuses on dramaturgy in contemporary theatre practices, particularly those related to adaptation. That work has been published in the New England Theatre Journal, Comparative Drama, the New Hibernia Review, as well as various essay collections. He holds a PhD from the University of Galway where he wrote about ritual, memory, and performance in the works of Enda Walsh. <\/p>\n<\/div><\/div>\n\n\n\n

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Stephanie Sandberg<\/strong> is a theatre professor, director, dramaturg, and documentary filmmaker at Washington and Lee University in Lexington, Virginia. She is the creator of the documentary Intimate Violence and a founding member of New Views Theatre Company, where her work centers on theatre as a catalyst for social dialogue and community transformation. Her scholarship and practice span contemporary American drama and global theatrical traditions, examining how performance across cultures interrogates race, history, and identity. She has directed productions and presented research at academic conferences on adaptation, dramaturgy, and the role of theatre in civic life. Her teaching integrates cinema history, AI in the arts, and performance pedagogy.<\/p>\n<\/div><\/div>\n\n\n\n

Conferences<\/h4>\n\n\n\n
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Hana Strej\u010dkov\u00e1<\/strong> is an associate professor and vice-dean for science and research, doctoral studies at the Faculty of Music and Dance of the Academy of Performing Arts in Prague. She holds a PhD from the Department of Nonverbal Theatre at AMU. She teaches at both the AMU and Palack\u00fd University in Olomouc. She publishes in many cultural magazines, writing mainly about movement theatre and cross-over projects. Hana also works as a theatre director and dramaturg. Her training includes studies at the Jacques Lecoq International Theatre School and completion of a three-level program in Meyerhold\u2019s Theatre Biomechanics under the mentorship of Master G. Bogdanov.<\/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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Katayoun Salmasi<\/strong> is a scholar, critic, editor, translator, and director. She received her PhD in Theatre Studies from the University of Illinois Urbana-Champaign in 2022. Since 2001, she has worked as an editor for newspapers, journals, radio programs, websites, and publishing houses. A member of the International Association of Theatre Critics since 2000, she served on its Executive Committee from 2008 to 2012. Her publications include books, translations, essays, and reviews, with a focus on criticism, performance, and intercultural exchange.<\/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\/33\/wp-json\/wp\/v2\/pages\/18","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/33\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/33\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/33\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/33\/wp-json\/wp\/v2\/comments?post=18"}],"version-history":[{"count":9,"href":"https:\/\/www.critical-stages.org\/33\/wp-json\/wp\/v2\/pages\/18\/revisions"}],"predecessor-version":[{"id":1014,"href":"https:\/\/www.critical-stages.org\/33\/wp-json\/wp\/v2\/pages\/18\/revisions\/1014"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/33\/wp-json\/wp\/v2\/media?parent=18"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}