Editorial

from Editorial 2009/10/29 22:37

Editorial


Maria Helena Serodio


“God wants, man dreams, the work is born”

(Deus quer, o homem sonha, a obra nasce)


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By quoting modernist poet Fernando Pessoa (from his volume of poetry Mensagem [Message], 1930) I only wish to offer a Portuguese link to the precious idea that brought together a group of theatre critics - in the framework of the International Association of Theatre Critics - around the idea of a theatre journal to be released in 2009. This journal, Critical Stages, will hopefully - twice a year – present challenging views, up-to-date information and informed criticism on theatre and the performing arts in general.

After taking up the Presidency of the IATC, Dr. Yun-Cheol Kim presented his project of launching a webjournal, the primary aims of which would be to provide an outlet for developing criticism and to assemble critical and theoretical perspectives from many geographical, cultural and aesthetic viewpoints. In this ecumenical disposition, and in line with the aims and objectives of the IATC and this journal, Yun-Cheol Kim suggested names for the Editorial Board which embraced different nationalities, backgrounds, ages and expertise.

It was my privilege, as editor, to compile this issue, bringing together what was generously offered by critics from many parts of the world. Some of the articles came directly from important events held in the context of IATC, as was the case of the conference in Toronto, Canada, convened and presided over by Don Rubin, about Theatrical Commentary. Thus, the first section gathers engaging studies by Ravi Chaturvedi, Peter Szaffko and Michael Handelzalts which follow important documents of personal and professional views by Don Rubin and Ian Herbert.

The Thalia Prize - awarded to Eric Bentley during the IATC congress in Seoul, Korea - was the igniting point for Randy Gener to interview Bentley in a most Proustian way, designing a confessional approach to a most important theoretician who has, undeniably, influenced several generations of theatre critics and researchers all over the world.

Again, in the framework of IATC, this time in Wrocław, Poland, a debate about Grotowski’s legacy, as it was coordinated by Tomasz Milkowski, brings to this issue an interview of great actress Maja Komorowska, and an absorbing presentation of the Polish theatre company Teatr Pieśń Kozła by Mark Brown.

In the centenary of Ionesco’s birth, we receive assessments of Ionesco’s first productions in Mexico (by Rodolfo Obregon) and in Portugal (by Sebastiana Fadda), while, from South Africa, Veronika Baxter explains how it was to play seriously with Augusto Boal, the inspiring Brazilian director recently deceased.

The publication of short interviews was intended to present playwrights and stage designers coming from different countries and experiences, but only three of them were ready to be included in this issue: Rita Martins interviewing José Maria Vieira Mendes (playwright) and Marta Carreiras (stage designer), as well as Bangock Kim interviewing Yun-Taek Lee.

On reviewing Lars Noren’s Diary, recently released, Matti Linnavuori detects challenging views that a playwright may offer to critics and, on discussing theatre and philosophy, Patrice Pavis presents, with his capacity to encapsulate different perspectives, the idea of an irresistible meeting point for both disciplines in a logical argument, as well as an itinerary of landscapes registered by his personal camera.

As Yun-Cheol Kim argues, theatre reviews are indispensable in a journal like this, and it is an honour for me, as editor of this issue, to consider how impressive is the number and quality of the reviews we publish here. Indeed, evocative and insightful analyses came from different countries exhibiting a remarkable capacity of critics to review and critique performances: Robert Creig (from South Africa), Alvina Ruprecht (from Quebec), Irène Sadowska (from France), Savas Patsalidis (from Greece), Kwon Kyoung-Hee (from South Korea), Tomasz Milkowski (from Poland), Vivian Martinez (from Cuba) and Patrice Pavis (here, from Germany) offer interesting examples of how to review a performance.

In the last section of this journal, we aim to reflect the fact that Critical Stages is – according to the unanimous wish of the Editorial Board – a journal made by, mainly directed towards and responsive (and responsible) to theatre critics. To that end, it occurred to me that it would be appropriate to include three other articles about criticism presented at Toronto, thus adding new voices to the debate about the history of theatre criticism in other countries: namely, the United Kingdom (by former IATC President John Elsom), Japan (by Manabu Noda) and South Korea (by IATC President Yun-Cheol Kim).

This issue is, obviously, a first experiment, but, despite the difficulties in carrying out a project like this, I am sure that future issues will show a great improvement, due to the feedback we may receive from around the world, and especially from contributions from critics and researchers – both junior and senior – that may want to join us.

To Yun-Cheol Kim I owe the privilege of being responsible for this issue and I can only hope I have met some of his expectations. To the members of the Editorial Board, to Lissa Renaud and to all authors and editors I admit my debt for keeping me aware of the problems arising: how they prudently advised me about possible errors, generously volunteered to make contacts and revise texts, and, in a general sense, all these voices together turned this first issue into a brave new collective adventure that brought voices and images from sixteen countries, spread over four continents. My warmest thanks go to the bravest in supporting me in my editorial work: Michel Vaïs, Hervé Guay, Manabu Noda, Maria Shevtsova, Mark Brown and Temple Hauptfleisch. I can never thank them enough!

Despite all the effort that went into this editing process, it is true that to see how things have come about has been for me a wonderful and enriching experience.

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