By Randy Gener[1] New York director Victor Maog recently took over as Artistic Director of Second Generation (2g), the 17-year-old company that supports emerging Asian-American voices. In addition to freelancing on plays and musicals, Maog founded a seasonal outfit called
By Randy Gener[1] Every four years since 1967, curatorial design teams from around the world mount national exhibitions in the city center of Prague. This quadrennial process has been taking place since the advent of PQ, more formally known as
By Randy Gener[1] Lately politics seems to have overtaken art in the nexus of the Clyde Fitch Report (CFR). On the morning of September 11, 2013 the day after the New York City mayoral primary elections took place, CFR looks
Par Irène Sadowska-Guillon[1] ABSTRACT Iranian actress, author and director in the Iranian scene, forbidden from working in Iran by the government for her religious convictions, Shabman Tolouei has been exiled since 2005, living in France. Her theatre revisits the Iranian
By Randy Gener[1] Anyone seriously interested in French-language Quebec plays needs to know about Suzie Bastien. Born in Montreal, the author of 10 plays and a member of Centre des auteurs dramatiques, Bastien writes some of the most intense, heart-stopping
Russell T. Warne* Abstract In the United States the full-time theatre critic’s job has been a casualty of the economic crisis facing American newspapers. Consequentially, in most American cities there are fewer reviews than ever being published, and a dearth
Interview with Alisa Solomon* By Andrea Tompa** ANDREA TOMPA: You teach journalism at Columbia University, and your experience includes writing for two decades for the Village Voice. What do you observe now in art criticism in the U.S.? Space for
The Critical Genre and the Internet by Mihály Szilágyi-Gál[1] Abstract Some fear that in the age of online writing the former impact of the critical genre has been reduced and relativized. Online media are more inclusive, less costly and less
by Esther Slevogt[1] The webmagazine nachtkritik.de was and continues to be an attempt to respond to radical changes in the public sphere. Theatre, of course, is no newcomer to the development of performative forms that call on audiences to become
Aleks Sierz[1] The critic arrives at yet another first night, the premiere of a new play. As he greets his colleagues, who are lingering outside the theatre, there’s a distinct atmosphere of gloom. This is partly due to the November