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
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
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
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
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
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
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