{"id":310,"date":"2016-03-17T19:32:06","date_gmt":"2016-03-17T19:32:06","guid":{"rendered":"https:\/\/www.critical-stages.org\/7\/?page_id=310"},"modified":"2016-03-19T13:27:59","modified_gmt":"2016-03-19T13:27:59","slug":"editorial-notice-record-number-of-reviews","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/7\/editorial-notice-record-number-of-reviews\/","title":{"rendered":"Editorial Notice | Record Number of Reviews"},"content":{"rendered":"

Matti Linnavuori<\/strong>[1]<\/sup><\/a><\/p>\n

\"Livanuori\"<\/p>\n

The Performance Reviews section contains more articles than ever before. I am, of course, pleased that there are so many, but even more pleased by the quality of the writing, and by the quality of the artists and performances discussed in these reviews.<\/p>\n

The reviews cover established auteurs as well as younger theatre makers who deserve to be recognized outside their immediate geographical, linguistic or cultural environments. For names in both categories\u2014auteur and young theatre maker\u2014please consult the table of contents!<\/p>\n

However, there are also performances in countries, cultures and continents which remain, for the time being, outside the attention of Critical Stages<\/em>. Luckily this constitutes no problem whatsoever: simply submit your idea in January and proceed to write a contribution!<\/p>\n

\n

[1]<\/a> Matti Linnavuori<\/strong> (born 1955) edits the Performance Reviews Section for Critical Stages. He is a free lance theatre critic for Finnish newspaper Satakunnan Kansa. He has also written and directed radio plays for YLE Finnish Broadcasting Company.<\/p>\n

\n
\"\"<\/a>\n

Estonian Theatre: Shiny Classics and Some Shaky Modernism<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Verbal vs. Physical Theatre on Stage Helsinki 2012<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Beyond the Clich\u00e9s of Miss Julie<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

B\u00e9la Pint\u00e9r Rewrites the Battles of 1848<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

La travers\u00e9e de l\u2019Esprit<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Kukura Sets his Artistic Credo against Soap Operas<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

A Secret Encounter at The Shakespeare Festival in Craiova<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Sibiu Stuns with Purc\u0103rete<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

The Live Digitizing of the Actor<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

The Fashion for Policy<\/a><\/h4><\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

Matti Linnavuori[1] The Performance Reviews section contains more articles than ever before. I am, of course, pleased that there are so many, but even more pleased by the quality of the writing, and by the quality of the artists and<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-310","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P7moa7-50","_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/7\/wp-json\/wp\/v2\/pages\/310","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/7\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/7\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/7\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/7\/wp-json\/wp\/v2\/comments?post=310"}],"version-history":[{"count":0,"href":"https:\/\/www.critical-stages.org\/7\/wp-json\/wp\/v2\/pages\/310\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/7\/wp-json\/wp\/v2\/media?parent=310"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}