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Critical Stages/Scènes critiques

The IATC webjournal/Revue web de l'AICT – February 2014: Issue No 9

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Criticism 2.0: Benefits and Challenges of Theatre Criticism Web Sites

Criticism 2.0:  Benefits and Challenges of Theatre Criticism Web Sites

Russell T. Warne[1] 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

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Mere Opinion and Considered Judgment: Amateur and Professional Criticism Today

Mere Opinion and Considered Judgment: Amateur and Professional Criticism Today

Interview with Alisa Solomon[1] By Andrea Tompa[2] 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

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CRITICIZING THE END OF CRITICISM

CRITICIZING THE END OF CRITICISM

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

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Oncoming Traffic! Theatre Criticism Online: The German Internet Platform nachtkritik.de

Oncoming Traffic! Theatre Criticism Online: The German Internet Platform nachtkritik.de

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

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British Theatre Criticism: the End of the Road?

British Theatre Criticism: the End of the Road?

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

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The Theatrical Blogosphere in Russia

The Theatrical Blogosphere in Russia

Pavel Rudnev[1] The presence of the Russian Theatre in the blogosphere is colossal. It began ten years ago, and it is already impossible to understand how we lived without it. How did everything work without Facebook? Blogs are utilized by

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The New Economy of Theatrical Expertise

The New Economy of Theatrical Expertise

by Iulia Popovici[1] There is no worst sign for the subjective state of (theatre) criticism than the time and space that theatre critics are dedicating in recent times not to (re)define but to defend their own profession… Even if the

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Re-negotiating Professional Criticism

Re-negotiating Professional Criticism

by Ott Karulin[1] At the last-year’s International Federation of Theatre Research annual conference, on the subject of ‘Mediating Performance,’ I asked rhetorically where have all the critics gone?[2] With the ever-rising freedom to speak one’s mind in the blogosphere and/or

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Two Cheers for the Internet

Two Cheers for the Internet

by John Elsom[1] I will make one clear and unequivocal prophecy. For the theatre critic in a digital age, matters will only get worse until they start to get better. They will follow the track into the desert of many

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IATC deeply appreciates The International Communication Foundation of Korea, chaired by Dr. Yoh Suk-Kee, for its generous donation for Critical Stages

Critical Stages is published with generous support from the Department of Theatre and the College of Fine and Applied Arts at the University of Illinois at Urbana-Champaign

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