tag:blogger.com,1999:blog-56952779914526895962024-03-14T00:33:11.476-04:00ATCA InternationalInternational news, events and reports from the American Theatre Critics AssociationATCA International Committeehttp://www.blogger.com/profile/03949189046929847056noreply@blogger.comBlogger85125tag:blogger.com,1999:blog-5695277991452689596.post-53359537069947172012019-03-28T01:13:00.001-04:002019-03-28T01:13:39.382-04:00CELEBRATE: 2019 World Theatre Day<div>
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<tr><td class="tr-caption" style="text-align: center;"><i>Director Carlos Celdrán (Cuba)<br />Photo: Laura Ramos</i></td></tr>
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<b><span style="font-size: large;">Message from Cuban director Carlos Celdrán on behalf of the International Theatre Institute, in celebration of 2019 World Theatre Day</span></b></div>
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<i>Translation from Spanish by Luis Llerena Diaz</i> <br /><br /><span style="font-size: large;"><b>Before my awakening</b> to the theatre, my teachers were already there. They had built their houses and their poetic approach on the remains of their own lives. Many of them are unknown, or are scarcely remembered: they worked from silence, in the humility of their rehearsal rooms and in their spectator-packed theatres and, slowly, after years of work and extraordinary achievement, they gradually slid away from these places and disappeared. When I understood that my personal destiny would be to follow their steps, I also understood that I had inherited that gripping, unique tradition of living in the present without any expectation other than achieving the transparency of an unrepeatable moment; a moment of encounter with another in the darkness of a theatre, with no further protection than the truth of a gesture, a revealing word. </span><div>
<span style="font-size: large;"><br /><b>My theatrical homeland</b> lies in those moments of meeting the spectators who arrive at our theatre night after night, from the most varied corners of my city, to accompany us and share some hours, a few minutes. My life is built up from those unique moments when I cease to be myself, to suffer for myself, and I am reborn and understand the meaning of the theatrical profession: to live instants of pure ephemeral truth, where we know that what we say and do, there under the stage lights, is true and reflects the most profound, most personal, part of ourselves. My theatrical country, mine and that of my actors, is a country woven from such moments, where we leave behind the masks, the rhetoric, the fear of being who we are, and we join hands in the dark. <br /><br /><b> Theatrical tradition is horizontal.</b> There is nobody who may affirm that theatre exists at any center in the world, in any city or privileged building. Theatre, as I have received it, spreads through an invisible geography that blends the lives of those who perform it and the theatrical craft in a single unifying gesture. All masters of theatre die with their moments of unrepeatable lucidity and beauty; they all fade in the same way, without any other transcendence to protect them and make them illustrious. Theatrical teachers know this, no recognition is valid when faced with that certainty which is the root of our work: creating moments of truth, of ambiguity, of strength, of freedom in the midst of great precariousness. Nothing survives except data or records of their work in videos and photos that will only capture a pale idea of what they did. However, what will always be missing from those records is the silent response by the public who understands in an instant that what takes place cannot be translated or found outside, that the truth shared there is an experience of life, for a few seconds, even more diaphanous than life itself. <br /><br /><b>When I understood</b> that the theatre was a country in itself, a major territory that covers the whole world, a determination arose within me, which was also the realization of a freedom: you do not have to go far away, or move from where you are, you do not have to run or move yourself. The public is wherever you exist. You have the colleagues you need at your side. There, outside your house, you have all the opaque, impenetrable daily reality. You then work from that apparent immobility to design the greatest journey of all, to repeat the Odyssey, the Argonauts’s journey: you are an immobile traveller who does not cease to accelerate the density and rigidity of your real world. Your journey is toward the instant, to the moment, toward the unrepeatable encounter before your peers. Your journey is toward them, toward their heart, toward their subjectiveness. You travel within them, in their emotions, their memories that you awaken and mobilize. Your journey is vertiginous, and nobody may measure or silence it. Nor may anybody recognize it to the right extent, it is a journey through the imagination of your people, a seed that is sown in the most remote of lands: the civic, ethical and human conscience of your spectators. Due to this, I do not move, I remain at home, among my closest, in apparent stillness, working day and night, because I have the secret of speed. </span></div>
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Jeffrey Eric Jenkinshttp://www.blogger.com/profile/15729636680058681974noreply@blogger.com0tag:blogger.com,1999:blog-5695277991452689596.post-77251867247158691462019-01-05T17:58:00.000-05:002019-01-05T17:58:56.061-05:00REPORT: Russian Critics Celebrate Detained Director<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;"><i>Director Kirill Serebrennikov</i></td></tr>
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<b><span style="color: #1d2129; font-family: "Times","serif"; font-size: 18.0pt; mso-fareast-language: EN-US;">The
Russian Association of Theatre Critics</span></b><span style="color: #1d2129; font-family: "Times","serif"; font-size: 18.0pt; mso-fareast-language: EN-US;"> has
named director <b>Kirill Serebrennikov</b> as <b>Person of the
Year</b> for his “unprecedented dedication to theatre in circumstances of
house arrest.”</span><span style="font-size: 13.5pt; mso-fareast-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal" style="background: white;">
<br /></div>
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<b><span style="color: #1d2129; font-family: "Times","serif"; font-size: 18.0pt; mso-fareast-language: EN-US;">Serebrennikov
has been detained</span></b><span style="color: #1d2129; font-family: "Times","serif"; font-size: 18.0pt; mso-fareast-language: EN-US;"> under house arrest since August
23, 2017, while undergoing investigation for “financial mismanagement” related
to the interdisciplinary performing arts project titled <i>The Platform</i>.
Prominent artistic personalities and professional associations in Russia,
Europe, and the Americas have considered his trial a politically motivated case
of selective justice, and called for his release. At the <b>Europe Theatre
Prize</b> festivities in St. Petersburg last November, leading Russian and
European theatre artists decried Serebrennikov’s continued detention and
repression, which added a note of risk and danger to the prize ceremony.</span><span style="font-size: 13.5pt; mso-fareast-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal" style="background: white;">
<br /></div>
<div class="MsoNormal" style="background: white;">
<b><span style="color: #1d2129; font-family: "Times","serif"; font-size: 18.0pt; mso-fareast-language: EN-US;">According
to the website of PEN America:<o:p></o:p></span></b></div>
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<br /></div>
<div class="MsoNormal" style="background: white; margin-left: .5in;">
<span style="color: #1d2129; font-family: "Times","serif"; font-size: 18.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Serebrennikov has
been an activist and government critic, making him a target of repression. He
has protested against Russia’s involvement in the Russo-Georgian war of 2008,
election fraud in 2011, persecution of the LGBT community, and arrests of <b>Pussy
Riot</b> members, among other issues. He called Russia a country of
“unabolished slavery” where people do not value freedom and a chasm exists
between the people and power.</span><span style="color: black; font-family: "Times","serif"; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><o:p></o:p></span></div>
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<b><span style="color: #1d2129; font-family: "Times","serif"; font-size: 18.0pt; mso-fareast-language: EN-US;">During
Serebrennikov’s house arrest</span></b><span style="color: #1d2129; font-family: "Times","serif"; font-size: 18.0pt; mso-fareast-language: EN-US;">, two
productions that he initiated were presented to the public: </span><i><span style="color: black; font-family: "Times","serif"; font-size: 18.0pt; mso-fareast-language: EN-US;">Così fan tutte </span></i><span style="background: #F8F9FA; font-family: "Times","serif"; font-size: 18.0pt; mso-fareast-language: EN-US;">at </span><span lang="DE" style="font-family: "Times","serif"; font-size: 18.0pt; mso-ansi-language: DE; mso-fareast-language: EN-US;">Opernhaus Zürich </span><span style="font-family: "Times","serif"; font-size: 18.0pt; mso-fareast-language: EN-US;">and <i>Baroque </i>at
the Gogol Center in Moscow. His film, <i>The Summer</i>, was presented at
Cannes Film Festival. The ballet <i>Nureyev, </i>which he directed,
and his production of <i>Small Tragedies </i>were nominated for the
Golden Mask, the Russian National Theatre Prize.</span></div>
<br />
ATCA International Committeehttp://www.blogger.com/profile/03949189046929847056noreply@blogger.com0tag:blogger.com,1999:blog-5695277991452689596.post-71712530654165953042018-12-07T16:39:00.000-05:002018-12-07T18:16:18.006-05:00NOTED: American Theatre Critics Association Re-Elected to International Governing Body<div style="text-align: left;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-gTFA5iTqbr8/XArgMqY08sI/AAAAAAAAAVk/u_2Zkn83Nh02p4NZv6cxw5zS08GFXj1jgCLcBGAs/s1600/IMG_0319.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><b><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://2.bp.blogspot.com/-gTFA5iTqbr8/XArgMqY08sI/AAAAAAAAAVk/u_2Zkn83Nh02p4NZv6cxw5zS08GFXj1jgCLcBGAs/s400/IMG_0319.JPG" width="400" /></b></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Members of the AICT-IATC Executive Committee meet in the shadow</i><br />
<i>of Anton Chekhov's bust at Дом Актера (Actor's House) in St. Petersburg</i><br />
<div>
<span style="background-color: white; color: #060200; font-family: "arial"; font-size: 12pt;"><b><br /></b></span></div>
<div style="text-align: left;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="background-color: white; color: #060200;"><b>The </b></span><strong style="background-color: white; color: #060200;">American Theatre
Critics Association</strong><span style="background-color: white; color: #060200;">, the United States national section of the
International Association of Theatre Critics (AICT-IATC), was re-elected to the
Executive Committee of IATC at the General Assembly during the
association’s </span><strong style="background-color: white; color: #060200;">World Congress</strong><span style="background-color: white; color: #060200;"> in
St. Petersburg, Russia, on November 15. The congress was held in conjunction
with the 17th </span><strong style="background-color: white; color: #060200;">Europe Theatre
Prize/Premio Europa per Il Teatro</strong><span style="background-color: white; color: #060200;">. Attending the congress were </span><strong style="background-color: white; color: #060200;">Jeffrey Eric Jenkins</strong><span style="background-color: white; color: #060200;">, IATC Vice President
and Chair of ATCA’s International Committee, and </span><strong style="background-color: white; color: #060200;">Brad Hathaway</strong><span style="background-color: white; color: #060200;">, immediate past Vice
Chair of the ATCA Executive Committee.</span></span></div>
<div style="text-align: left;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="background-color: white; color: #060200;"><br /></span></span></div>
<div style="text-align: left;">
<span style="color: #060200; font-family: "times" , "times new roman" , serif; font-size: large;"><span style="background-color: white;"><b>Prior to the General Assembly</b>, members from across the globe were invited to address the congress on the topic of "Performing Arts Today: Freedom and (In)tolerance." Presenters included representatives from Serbia, Russia, Québec, the United States, Slovakia, Hong Kong, Japan, and Korea. Following the conference, AICT-IATC honored the esteemed German scholar <b>Hans-Thies Lehmann</b> with the <b>2018 Thalia Prize</b>, presented to a critic, scholar and/or practitioner whose work has had a profound impact on the nature of the field. Lehmann was honored for his groundbreaking work, <b><i>Postdramatic Theatre</i></b>. </span></span></div>
<div style="text-align: left;">
<span style="color: #060200; font-family: "times" , "times new roman" , serif; font-size: large;"><span style="background-color: white;"><br /></span></span></div>
<div style="text-align: left;">
<span style="font-size: large;"><span style="font-family: "times" , "times new roman" , serif; text-align: center;"><b>The General Assembly</b> re-elected </span><strong style="color: #060200; font-family: Times, "Times New Roman", serif;">Margareta Sörenson </strong><span style="color: #060200; font-family: "times" , "times new roman" , serif;">(Sweden) </span><span style="color: #060200; font-family: "times" , "times new roman" , serif;">to her final term as President. </span><strong style="color: #060200; font-family: Times, "Times New Roman", serif;">Michel Vaïs </strong><span style="color: #060200; font-family: "times" , "times new roman" , serif;">(Canada)</span><strong style="color: #060200; font-family: Times, "Times New Roman", serif;"> </strong><span style="color: #060200; font-family: "times" , "times new roman" , serif;">was re-elected Secretary General, marking twenty years in that position. Further, the General Assembly confirmed that the 30th </span><strong style="color: #060200; font-family: Times, "Times New Roman", serif;">AICT-IATC World Congress</strong><span style="color: #060200; font-family: "times" , "times new roman" , serif;"> will be held in Bratislava, Slovakia in early M</span><span style="color: #060200; font-family: "times" , "times new roman" , serif;">ay 2020. </span><span style="font-family: "times" , "times new roman" , serif; text-align: center;">The vote in the General Assembly resulted in the selection of ten national sections that will serve as the voting Executive Committee for the next two years: China, France, Georgia, India, Japan, Nigeria, Serbia, Slovakia, Turkey and the United States.</span></span></div>
<div style="text-align: left;">
<span style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></span></div>
<div style="text-align: left;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="text-align: center;"><b>The USA section</b> received 85 percent of the possible votes, which caused </span><span style="color: #060200;">Jenkins to note, “It is deeply gratifying that our international colleagues are so suppo</span><span style="color: #060200;">rtive of keeping our section engaged in this time of global uncertainty for the arts and for humanity.”</span></span></div>
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<span style="color: #060200;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></span>ATCA International Committeehttp://www.blogger.com/profile/03949189046929847056noreply@blogger.com1tag:blogger.com,1999:blog-5695277991452689596.post-66107068545949723322018-08-24T17:17:00.000-04:002018-08-24T17:27:23.361-04:00REPORT: News on International Theatre Criticism<div class="separator" style="clear: both; text-align: center;">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><span style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="244" data-original-width="194" src="https://1.bp.blogspot.com/-cGRbu_GYidI/W2oKds3cF7I/AAAAAAAADEk/0cS2LpdcQ_QTOsDwl8eqi2GRqyzXIH7ZACLcBGAs/s1600/Barry-Gaines-214x300.jpg" /></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><a href="http://americantheatrecritics.org/">Barry Gaines</a></i></td></tr>
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<span style="font-size: large;"><b><a href="http://americantheatrecritics.org/">American Theatre Critics Association</a> </b>(ATCA)<b> </b>member <b>Barry Gaines </b>attended the 16th <b>Europe Theatre Prize</b> festivities in Rome last December and wrote about the experience for <i><a href="http://www.critical-stages.org/"><b>Critical Stages/Scènes Critiques</b></a></i>, the journal of the <b>International Association of Theatre Critics</b> (<a href="http://aict-iatc.org/en/">AICT-IATC</a>).</span><br />
<span style="font-size: large;"><br /></span><span style="font-size: large;"><b>The 2018 prize festivities</b> will be held in St. Petersburg, Russia, to coincide with the 29th <b>World Congress</b> of the International Association of Theatre Critics, November 13–18, 2018. During the World Congress, IATC will present the <b>7th Thalia Prize</b>, which is given, according to <a href="http://www.critical-stages.org/14/thalia-prize-its-history/">IATC President <b>Margareta Sörenson</b></a>, to someone who has been </span><span style="font-size: large;">"responsible for a body of work in criticism and theatre studies" that has also been "particularly important to us, the international critics, in our profession."</span><br />
<span style="font-size: large;"><br /></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-4W-2fRNFeMk/W4BsUce462I/AAAAAAAADFA/9VdWyRUG1eAH195xJmTQGadFNk5z1lDIgCLcBGAs/s1600/f8ee32ff1b990afd68044d8c8e0647a8.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="200" data-original-width="200" src="https://4.bp.blogspot.com/-4W-2fRNFeMk/W4BsUce462I/AAAAAAAADFA/9VdWyRUG1eAH195xJmTQGadFNk5z1lDIgCLcBGAs/s1600/f8ee32ff1b990afd68044d8c8e0647a8.jpeg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Hans-Thies Lehman</i></td></tr>
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<span style="font-size: large;"><b>Hans-Thies Lehmann,</b> t</span><span style="font-size: large;">he 2018 Thalia laureate, wrote the groundbreaking book <a href="https://www.amazon.com/Postdramatic-Theatre-Hans-Thies-Lehmann/dp/0415268133"><i><b>Postdramatic Theatre</b></i> (Routledge English edition, 2006</a>), in addition to other influential texts. According to authoritative sources, Lehmann's work summarizes "a number of tendencies and stylistic traits occurring in avant-garde theatre since the end of the 1960s." What he refers to as "postdramatic" is not "focused on the drama in itself, but evolves a performative aesthetic in which the text of the performance" engages with the "material situation of the performance and the stage." Lehmann's codification of the field has been highly influential for artists and scholars alike since it was published in German in 1999. Past Thalia Prize laureates are <b>Eric Bentley</b> (USA, 2006), <b>Jean-Pierre Sarrazac</b> (France, 2008), <b>Richard Schechner</b> (USA, 2010), <b>Kapila Vatsyayan</b> (India, 2012), <b>Eugenio Barba</b> (Denmark, 2014), and <b>Femi Osofisan </b>(Nigeria, 2016).</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>For the World Congress,</b> a </span><span style="font-size: large;">conference on <b>“Performing Arts: Freedom and (In)Tolerance”</b> has been announced and paper proposals are currently being adjudicated. Given rising levels of nationalism and autocracy throughout the globe, this World Congress and its conference promise to richly engage participants on issues that are of great importance in this political and cultural moment. American delegates to the congress are IATC Vice President <b><a href="https://theatre.illinois.edu/portfolio/jeffrey-eric-jenkins/">Jeffrey Eric Jenkins</a></b>, and ATCA members <b>Ellen Foreman</b> and <b>Brad Hathaway</b>. Members of the editorial board of <b><i><a href="http://www.critical-stages.org/">Critical Stages/Scènes Critiques</a></i></b> will also gather in Russia to set the course for the journal's next two years.<br /></span>Jeffrey Eric Jenkinshttp://www.blogger.com/profile/15729636680058681974noreply@blogger.com1tag:blogger.com,1999:blog-5695277991452689596.post-32068898370212163322018-06-13T12:49:00.000-04:002018-06-13T12:49:02.793-04:00ANNOUNCEMENT: St. Petersburg World Congress<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-GTBMJZSCrIQ/WyASqf_V3CI/AAAAAAAADDM/UdePz_3Ar2sfyrdqbaUkdJkbjgmqn33TACLcBGAs/s1600/st%2Bpeter.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="683" data-original-width="1024" height="213" src="https://2.bp.blogspot.com/-GTBMJZSCrIQ/WyASqf_V3CI/AAAAAAAADDM/UdePz_3Ar2sfyrdqbaUkdJkbjgmqn33TACLcBGAs/s320/st%2Bpeter.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-size: 12.8px;">Magic Hour: </span>St. Petersburg</i></td></tr>
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<span style="font-size: large;"><b>The 29th World Congress</b> of the International Association of Theatre Critics (AICT-IATC), which was postponed when the host withdrew its offer a few months ago due to lack of funding, will now be held in <b>St. Petersburg, Russia,</b> November 13 through 17 to coincide with the festivities of the <b>Europe Theatre Prize</b>.<br /><br /><b>ATCA, the US section</b> of IATC will send two delegates with the association providing partial funding. Those delegates should be members who have been active in ATCA matters over the past two years. <br /><br /><b>Due to the short deadline</b> for American citizens to receive an appropriate visa to attend the event, American Theatre Critics Association members are requested to contact <b>ATCA vice chair Brad Hathaway</b> (Brad [at] BradHathaway.com) to express interest in serving as one of two delegates representing the American section of IATC.<br /><br /><b> Our Russian counterparts</b> need to receive official visa application information by <b>June 30, 2018,</b> which will include a registration form they have provided, a copy of the applicant's passport, and other relevant information. In order to be considered, potential participants <b>MUST</b> express interest to Brad Hathaway by <b>Sunday, June 17, 2018,</b> in order to receive full consideration by ATCA's executive committee.<br /><br /><b> PLEASE NOTE: Applicants' passports must not have an expiration date before June 2019.</b></span>Jeffrey Eric Jenkinshttp://www.blogger.com/profile/15729636680058681974noreply@blogger.com0tag:blogger.com,1999:blog-5695277991452689596.post-87311711717852641872018-03-15T19:33:00.001-04:002018-03-15T19:33:36.453-04:00READ: World Theatre Day Messages<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="margin-left: auto; margin-right: auto;"><a href="http://www.world-theatre-day.org/messageauthor.html"><img border="0" data-original-height="400" data-original-width="940" height="170" src="https://4.bp.blogspot.com/-K6-J3yK0vmo/Wqr8K0sdwgI/AAAAAAAAC-4/FME8aLqqjCYItLbn4pKJDuby3QtD7txGACLcBGAs/s400/ITI-WorldTheatreDay.jpg" width="400" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><b>Global Messengers:</b> Ram Gopal Bajaj (India), Maya Zbib (Lebanon),<br />Simon McBurney (United Kingdom), Sabina Berman (Mexico)<br />and Wêrê Wèrê Liking (Ivory Coast)</i></td></tr>
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<span style="font-size: large;"><b>In celebration of World Theatre Day</b>, March 27, and in recognition of the International Theatre Institute's (ITI) seventy years of building greater understanding through cross-cultural and international programs in theatre, the Executive Council of ITI has selected five authors to offer messages for theatre lovers everywhere. <a href="http://www.world-theatre-day.org/messageauthor.html">There is one representative from each of the five UNESCO Regions: Africa, the Americas, Arab Countries, Asia Pacific and Europe.</a> </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>The messages have been translated</b> into a variety of international languages ranging from Amharic to Romanian. According to the ITI website:</span><br />
<blockquote class="tr_bq">
<span style="font-size: large;"><b><a href="http://www.world-theatre-day.org/worldtheatreday.html">World Theatre Day</a></b> was initiated in 1961 by the International Theatre Institute (ITI). It is celebrated annually on 27 March by ITI Centers and the international theatre community. Various national and international theatre events are organized to mark this occasion. One of the most important of these is the circulation of the World Theatre Day Message through which at the invitation of ITI, a figure of world stature shares his or her reflections on the theme of Theatre and a Culture of Peace. The first World Theatre Day Message was written by Jean Cocteau in 1962.<br /> <br /><b>Ever since, each year</b> on 27 March (date of the opening of the 1962 "Theatre of Nations" season in Paris), World Theatre Day has been celebrated in many and varied ways by ITI Centers - of which there are now more than 90 throughout the world. Moreover theatres, theatre professionals, theatre lovers, theatre universities, academies and schools celebrate it as well.<br /> <br /><b>Each year an outstanding figure</b> in theatre or a person outstanding in heart and spirit from another field is invited to share his or her reflections on theatre and international harmony. What is known as the "<a href="http://www.world-theatre-day.org/messageauthor.html">International Message</a>" is translated into more than 50 languages, read for tens of thousands of spectators before performances in theatres throughout the world, and printed in hundreds of daily newspapers. Colleagues in the audio-visual field lend a fraternal hand, with more than a hundred radio and television stations transmitting the message to listeners in all corners of the five continents.</span></blockquote>
<span style="font-size: large;"><b>The link above</b> will take you to the main message page, where you may access the messages in a variety of translations. Happy World Theatre Day! </span><br />
<br />
<br /><br />Jeffrey Eric Jenkinshttp://www.blogger.com/profile/15729636680058681974noreply@blogger.com0tag:blogger.com,1999:blog-5695277991452689596.post-21697756379167530722018-03-12T22:54:00.000-04:002018-03-12T22:54:03.020-04:00CALL: Young Critics' Workshops in June<!--[if gte mso 9]><xml>
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<br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-ylyuhwrJal0/Wqc2M1kY2mI/AAAAAAAAC-I/BBs1rPF3NBEXrUgEJD1RiA85tiGRF5kpACLcBGAs/s1600/IATC.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="200" src="https://4.bp.blogspot.com/-ylyuhwrJal0/Wqc2M1kY2mI/AAAAAAAAC-I/BBs1rPF3NBEXrUgEJD1RiA85tiGRF5kpACLcBGAs/s200/IATC.jpg" width="200" /></a></div>
<div style="text-align: left;">
<b><span style="font-size: large;">Workshop for Young Critics in Limoges</span></b></div>
</div>
<div class="MsoNormal">
<span style="font-size: large;"><o:p></o:p></span></div>
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<b><br /></b>
<span style="font-size: large;"><b>The International Association of Theatre Critics</b> (AICT–IATC)
is organizing a workshop for young theatre critics scheduled to be held June 11–17,
2018, in Limoges, France. The program will be undertaken during the Festival
International des Écoles de Théâtre, with support from the Théâtre de l'Union, Centre
Dramatique National du Limousin. Potential participants are invited to apply,
as soon as possible, to join one of two working groups of six participants
maximum per group (one French-speaking group and one in English). </span><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: large;"><b>Candidates must be professional</b> critics between the ages of 18 and
35. All candidates are invited to send an application form completed (see
below) with a brief resume (one page), 2 or 3 samples of published
articles in media and a letter of recommendation from the person in charge of
the AICT–IATC section in their country, if the country has an IATC section.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>All documents must</b> be sent in a single PDF file, if possible. Please note
the following:</span></div>
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<blockquote class="tr_bq">
<span style="font-size: large;"><b>1)</b> Only candidates may apply, not the national representative of AICT–IATC sections.</span><span style="font-size: 12pt;"> </span></blockquote>
<blockquote class="tr_bq">
<span style="font-size: large;"></span><span style="font-size: large;"><b>2)</b> Candidates must have a good knowledge of one of the two
working languages. Please describe your fluency level in English and French.</span></blockquote>
</div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-mnU8G_pva0k/Wqc5CVIDJtI/AAAAAAAAC-U/lXVMHkYwL8oUGx6K0eQl26MInEYefNJagCLcBGAs/s1600/logo.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="265" data-original-width="848" height="125" src="https://2.bp.blogspot.com/-mnU8G_pva0k/Wqc5CVIDJtI/AAAAAAAAC-U/lXVMHkYwL8oUGx6K0eQl26MInEYefNJagCLcBGAs/s400/logo.png" width="400" /></a></div>
<br />
<span style="font-size: large;"><b>Participants will be hosted</b> in a shared double room. Noon and evening meals will be provided. You will receive a free entry pass for all
the shows and encounters during the Festival. You will also be picked up at the
train station.</span><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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<span style="font-size: large;"><b>Working-group monitors</b> will include theatre critic
Jean-Pierre Han, assisted by Mariko Anazawa (French-speaking group). The name
of the English-speaking monitor will be announced later.</span><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: large;"><b>Applications will be</b> accepted <b>until May 8, 2018,</b> and
they must be sent to the Director of Seminars, Jean-Pierre Han: <u>jp.han@free.fr</u>.
A final list of all accepted applications will be announced as soon as
possible, in order to allow time for participants to prepare for their trip,
and get visas for France as necessary.</span><o:p></o:p><br />
<span style="font-size: large;"><br /></span>
<div class="MsoNormal" style="text-align: center;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="font-size: large;">Application
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<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;"><span style="font-size: large;">Name:<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;"><span style="font-size: large;">Gender: <o:p></o:p></span></span></div>
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<br /></div>
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<br /></div>
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<br /></div>
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<span lang="FR" style="mso-ansi-language: FR;"><span style="font-size: large;">E-mail:<o:p></o:p></span></span></div>
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<br /></div>
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(telephone, mobile):<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;"><span style="font-size: large;">Language:</span></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;"><span style="font-size: large;">IATC-affiliated national\regional
section recommending the young critic:<o:p></o:p></span></span></div>
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<br /></div>
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<span lang="FR" style="mso-ansi-language: FR;"><span style="font-size: large;">Other documents:<o:p></o:p></span></span></div>
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<br /></div>
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<span lang="FR" style="mso-ansi-language: FR;"><span style="font-size: large;">Short CV
and main professional experience (newspapers, journals, radio/TV, web,
blog, etc.)<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;"><span style="font-size: large;">Attached
samples from articles published or otherwise (2-3)<o:p></o:p></span></span></div>
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<br /></div>
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<span lang="FR" style="mso-ansi-language: FR;"><span style="font-size: large;">Other
recommendations (should home country be without national association of
theatre critics).<o:p></o:p></span></span></div>
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<!--EndFragment-->Jeffrey Eric Jenkinshttp://www.blogger.com/profile/15729636680058681974noreply@blogger.com0tag:blogger.com,1999:blog-5695277991452689596.post-77063446598653925932018-01-17T15:58:00.000-05:002018-01-17T15:58:43.129-05:00EXTENDED: Russian Director Continues Detention<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-e-om9UEPKLI/Wl-0dBdpT5I/AAAAAAAAC7w/sM7AcTBgNT0_wF5_t1KffyckL2zU8xkjwCLcBGAs/s1600/17housearrest-item-superJumbo.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1376" data-original-width="1600" height="343" src="https://4.bp.blogspot.com/-e-om9UEPKLI/Wl-0dBdpT5I/AAAAAAAAC7w/sM7AcTBgNT0_wF5_t1KffyckL2zU8xkjwCLcBGAs/s400/17housearrest-item-superJumbo.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Kirill S. Serebrennikov. Photo: Maxim Shipenkov/European Pressphoto Agency </i> </td></tr>
</tbody></table>
<span style="font-size: large;"><b><i><a href="https://www.nytimes.com/2018/01/16/theater/russian-theater-directors-house-arrest-is-extended.html?_r=0">The New York Times</a></i></b> reports today that Russian director Kirill S. Serebrennikov has had his house arrest extended again as State prosecutors marshal their forces to prosecute him for allegedly embezzling the equivalent of $2.3 million. The Ministry of Culture is asking to be compensated that amount should Serebrennikov be found guilty. Russian President Vladimir V. Putin is quoted in the <i>Times</i> as having said in December, “If this were a persecution, not a prosecution, his performance wouldn’t have been staged at the Bolshoi.” The performance to which Putin refers is Serebrennikov's recent production of <i>Nureyev</i>, the gay ballet dancer who defected from the Soviet Union.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b><a href="https://www.nytimes.com/2018/01/16/theater/russian-theater-directors-house-arrest-is-extended.html?_r=0">According to the article</a></b> by Oleg Matsnev, Serebrennikov has staged plays featuring nude actors and touching on socially divisive issues of sexuality and politics. Speaking in court on Tuesday, Serebrennikov said that his accountant at Seventh Studio, Nina L. Maslyaeva, who has turned State’s witness in the case, had falsely accused him and four colleagues of theft.</span>Jeffrey Eric Jenkinshttp://www.blogger.com/profile/15729636680058681974noreply@blogger.com0tag:blogger.com,1999:blog-5695277991452689596.post-19582113530673979982018-01-17T15:37:00.000-05:002018-01-17T15:58:57.108-05:00CANCELED: 2018 World Congress at Banff<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-ARQ2h6H2r_A/Wl-x0HtkxqI/AAAAAAAAC7k/z9ZLeNqZvl0xx3H1s6R9AVygSC-MWjePgCLcBGAs/s1600/banffcentre-300x200.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="200" data-original-width="300" height="266" src="https://1.bp.blogspot.com/-ARQ2h6H2r_A/Wl-x0HtkxqI/AAAAAAAAC7k/z9ZLeNqZvl0xx3H1s6R9AVygSC-MWjePgCLcBGAs/s400/banffcentre-300x200.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Banff Center, Canada</i></td></tr>
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<br />
<span style="font-size: large;"><b>The International Association of Theatre Critics</b> (AICT-IATC) announced that its World Congress, planned for September 2018 in Banff and Calgary, Canada, has been canceled due to a lack of funding commitments. Secretary General Michel Vaïs has reported on behalf of himself and IATC President Margareta Sörenson that several other options are being investigated.</span>Jeffrey Eric Jenkinshttp://www.blogger.com/profile/15729636680058681974noreply@blogger.com0tag:blogger.com,1999:blog-5695277991452689596.post-62497842406737945012017-12-30T20:58:00.000-05:002017-12-30T20:58:01.567-05:00PUBLISHED: Critical Stages/Scènes Critiques New Issue<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.critical-stages.org/16/"><img alt="" border="0" data-original-height="480" data-original-width="1400" height="135" src="https://1.bp.blogspot.com/-8F55ToDi6WE/WkgriMxKPjI/AAAAAAAAC6I/WnPqMcN8pTgw-ngy7eiLUC96azOBQAWIwCLcBGAs/s400/Slide3.jpg" title="" width="400" /></a></div>
<br />
<span style="font-size: large;"><b>The IATC journal</b> <i><a href="http://www.critical-stages.org/16/">Critical Stages/Scènes Critiques</a></i> has been published just in time for your new year reading. Editor-in-chief <a href="http://www.enl.auth.gr/staff/patsalid.htm">Savas Patsalidis</a> announced publication December 29 with a Special Topic for Number 16 edited by renowned international artist and author <a href="http://www.brunel.ac.uk/people/johannes-birringer">Johannes Birringer</a> on "<a href="http://www.critical-stages.org/16/special-topic/">Sound/Theatre: Sound in Performance</a>."</span><br />
<span style="font-size: large;"><br /></span>
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-Bl1XrXhTNic/Wkg-3ITxsRI/AAAAAAAAC6Y/NnnVMZXmucADuGSCAU_TkKH6LC_WqWlFwCLcBGAs/s1600/Photo-1_Mateo-H.-Casis_0184bon1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="400" height="400" src="https://3.bp.blogspot.com/-Bl1XrXhTNic/Wkg-3ITxsRI/AAAAAAAAC6Y/NnnVMZXmucADuGSCAU_TkKH6LC_WqWlFwCLcBGAs/s400/Photo-1_Mateo-H.-Casis_0184bon1.jpg" width="265" /></a></td></tr>
<tr><td class="tr-caption">Flesh Waves (phase #4)<i>, by Isabelle Choinière,<br />with dancers Laurie-Anne Langis, Édith Doucet,<br />Nadège St-Arnaud, Béatrice Trudel, Frédérique <br />Forget, 2013. Photo: Mateo H. Casis, Cie Loc & Mac</i></td></tr>
</tbody></table>
<br /><span style="font-size: large;"><b>Sound designer</b> <a href="http://www.chriswenn.com/">Chris Wenn</a> weighs in on "<a href="http://www.critical-stages.org/16/the-rush-of-real-world-sound-acoustic-ecologies-of-independent-theatre-in-melbourne/">Acoustic Ecologies of Independent Theatre in Melbourne</a>." Scholar and artist <a href="https://performancestudies.ucdavis.edu/gretchen-jude/">Gretchen Jude</a> explores the "<a href="http://www.critical-stages.org/16/tangible-user-interfaces-in-vocal-performance-the-sounding-body-as-digital-assemblage/">Sounding Body as Digital Assemblage</a>."</span><br />
<span style="font-size: large;"><br /></span>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-Ki52pXXF63A/Wkg_lwjWbUI/AAAAAAAAC6g/JkoKMqUDy14FfXhZloxtaSe83LStKY8eQCLcBGAs/s1600/Photo-3-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="466" data-original-width="700" height="266" src="https://1.bp.blogspot.com/-Ki52pXXF63A/Wkg_lwjWbUI/AAAAAAAAC6g/JkoKMqUDy14FfXhZloxtaSe83LStKY8eQCLcBGAs/s400/Photo-3-1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption"><i>Bill T. Jones and I-Ling Liu perform </i>Story/Time<i>. Photo by Paul B. Goode<br /></i></td></tr>
</tbody></table>
<div>
<span style="font-size: large;"><b><br />Performance thinkers</b> from around the globe consider varied topics within editor Birringer's "ensounded" construct such as aural choreography, <a href="http://www.critical-stages.org/16/sound-in-motion-bill-t-jones-repurposes-john-cage/">Bill T. Jones "repurposing" John Cage</a>, soundscapes of <a href="http://www.critical-stages.org/16/soundscapes-of-narco-silence-in-u-s-mexico-borderlands-performance/">"narco silence" in the border areas</a> of the United States and Mexico, <a href="http://www.critical-stages.org/16/staging-listening-corporeal-dimensions-of-new-music-in-choreographies-by-xavier-le-roy/">corporeality in choreography of new music</a>, <a href="http://www.critical-stages.org/16/performing-the-politics-of-sound-affective-mobilization-and-the-objectivity-of-sonic-energy-on-the-human-body/">sonic energy and the body</a>, and other intersections of sound and performance as the impact of design creates new ways of thinking about theatre and performance.</span><span style="font-size: large;"><br /></span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-b5zRdmTu_1Y/WkhAvtMN5LI/AAAAAAAAC6s/1ir0InU9IaMgD3ESmm13SgqfIo0D4d7IgCLcBGAs/s1600/Photo-2-3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="466" data-original-width="700" height="266" src="https://3.bp.blogspot.com/-b5zRdmTu_1Y/WkhAvtMN5LI/AAAAAAAAC6s/1ir0InU9IaMgD3ESmm13SgqfIo0D4d7IgCLcBGAs/s400/Photo-2-3.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption">La Terquedad<i>, a project on which writer and director<br />Rafael Spregelburd started working in 1996.</i></td></tr>
</tbody></table>
<br />
<span style="font-size: large;"><b>Also featured in</b> this edition are national reports on theatre in <a href="http://www.critical-stages.org/16/from-rising-to-riot-irish-theatres-retrofuture/">Ireland</a>, <a href="http://www.critical-stages.org/16/navigating-the-theatre-ecology-in-hong-kong-perspectives-of-a-singaporean/">Hong Kong</a>, <a href="http://www.critical-stages.org/16/a-view-from-the-south-a-cursory-glance-at-some-events-of-the-argentinian-theatrical-landscape/">Argentina</a>, <a href="http://www.critical-stages.org/16/theatre-in-serbia-today/">Serbia</a>, <a href="http://www.critical-stages.org/16/greece-on-stage/">Greece</a>, <a href="http://www.critical-stages.org/16/english-canadian-theatre/">Anglophone Canada</a>, <a href="http://www.critical-stages.org/16/israeli-theatre-in-2017-visions-of-a-cleft-heart/">Israel</a>, and <a href="http://www.critical-stages.org/16/chilean-theatre-season-2017/">Chile</a>. Performance review e</span><span style="font-size: large;">ditor <a href="https://www.2010-2016.borstnikovo.si/en/guests-2010/matti-linnavuori_1/">Matti Linnavuori</a> of Finland has once again curated a lively selection on international perspectives from around the globe. <a href="http://theatre.ampd.yorku.ca/profile/don-rubin/">Don Rubin</a> of Canada offers his usual thoughtful collection of book reviews on performance topics.<br /><br /><b>Coming in February 2018</b>, <i>Critical Stages/Scènes Critiques</i> will roll out the second installment of Number 16 featuring interviews, conference papers, and essays. Stay tuned for more and let us know how the journal might better provide news, reviews, essays, and special topics of interest to you.</span></div>
Jeffrey Eric Jenkinshttp://www.blogger.com/profile/15729636680058681974noreply@blogger.com0tag:blogger.com,1999:blog-5695277991452689596.post-89423168099628551462017-12-22T20:41:00.000-05:002017-12-22T20:47:42.527-05:00PROTEST: IATC Statement on Serebrennikov Detention<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-pxd29MLgrnE/Wj2ndVPJrNI/AAAAAAAAC54/xDoXamclhwYPxQ8uf6mAnDQ19ou53rtuQCEwYBhgL/s1600/Screen%2BShot%2B2017-12-22%2Bat%2B6.39.16%2BPM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="572" data-original-width="1022" height="223" src="https://4.bp.blogspot.com/-pxd29MLgrnE/Wj2ndVPJrNI/AAAAAAAAC54/xDoXamclhwYPxQ8uf6mAnDQ19ou53rtuQCEwYBhgL/s400/Screen%2BShot%2B2017-12-22%2Bat%2B6.39.16%2BPM.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Kirill Serebrennikov in court December 4, 2017.<br />Photo: Artyom Geodakyan/TASS</i></td></tr>
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<span style="font-size: large;"><b>According to the </b><b>website</b> of <a href="https://www.rferl.org/a/rusia-serebrennikov-house-arrest-upheld/28895832.html">Radio Free Europe</a>, which based its reporting on TASS and Interfax, a Moscow City Court upheld on December 4 an extension of house arrest for Russian director Kirill Serebrennikov. He has been detained on fraud charges, accused of embezzling approximately $1 million in State funds. Serebrennikov was arrested in August. In October, the district court extended his house arrest to January 19. The 48-year-old director has repeatedly stated that the charges are "absurd."<br /><br /><b>Prior to his arrest</b>, Serebrennikov</span><br />
<blockquote class="tr_bq">
<span style="font-size: large;">clashed with Russia’s Culture Ministry over the staging of a ballet about legendary Soviet ballet dancer Rudolf Nureyev, who defected to the West in 1961. Culture Minister Vladimir Medinsky suggested that production m</span><span style="font-size: large;">ight violate a 2013 'gay propaganda' law. (<a href="https://www.rferl.org/a/rusia-serebrennikov-house-arrest-upheld/28895832.html">RFE</a>)</span></blockquote>
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<span style="font-size: medium;"><br /></span>
<span style="font-size: large;"><b>As a result of his detention</b>, Serebrennikov was not allowed to attend the Europe Prize for Theatre festivities in Rome, December 12–17, where he was to receive one of the top prizes bestowed in the category of "Theatrical Realities." The International Association of Theatre Critics (<a href="http://aict-iatc.org/en/">AICT-IATC</a>) issued an official protest against the detention of the artist at its meeting in Rome on December 17. The critics' organization noted that despite Serebrennikov's isolation, his Nureyev ballet opened recently at the Bolshoi Theatre. The IATC also noted that the organization "</span><span style="font-size: large;">shares the deep worries of the Russian critics, who already launched a protest in August, against the arrest of Serebrennikov. The accusations . . . alleging misuse of funds in his theatre, do not justify his prolonged detainment."</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>The IATC statement</b> concluded, "the world of the arts and free expression will never accept the maneuvers of any state trying to stop an artist from speaking with a clear voice for freedom."</span></div>
Jeffrey Eric Jenkinshttp://www.blogger.com/profile/15729636680058681974noreply@blogger.com0tag:blogger.com,1999:blog-5695277991452689596.post-54901762502507940122017-12-01T22:17:00.000-05:002017-12-01T23:03:31.094-05:00NOMINATIONS: 2018 Thalia Prize Deadline<div class="separator" style="clear: both; text-align: center;">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-u1Dnxfc3nB0/WiGx3Jn7XoI/AAAAAAAAC4Y/0maIyYPPUm0pCYHBakAasO6vea-KBrXMQCEwYBhgL/s1600/THALIA-OSOFISAN-photo-Jovo-Marjanovic%25CC%2581-430x286.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="286" data-original-width="430" height="265" src="https://4.bp.blogspot.com/-u1Dnxfc3nB0/WiGx3Jn7XoI/AAAAAAAAC4Y/0maIyYPPUm0pCYHBakAasO6vea-KBrXMQCEwYBhgL/s400/THALIA-OSOFISAN-photo-Jovo-Marjanovic%25CC%2581-430x286.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>2016 Thalia Laureate Femi Osofisan</i></td></tr>
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<span style="font-size: large;"><b>The International Association of Theatre Critics</b> (AICT-IATC) requests proposals for candidates for the IATC Thalia Prize. National and regional sections of IATC are invited to propose candidates. The 2018 Prize will be given at the IATC World Congress in Banff, Canada.</span><br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-b6zvbogondQ/WiGx4c__ieI/AAAAAAAAC4Y/L50ARQd1F2Ys8lSCZHb6CUJ3Ebr06U5qACEwYBhgL/s1600/THALIA-ericbentley.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="267" data-original-width="200" height="200" src="https://3.bp.blogspot.com/-b6zvbogondQ/WiGx4c__ieI/AAAAAAAAC4Y/L50ARQd1F2Ys8lSCZHb6CUJ3Ebr06U5qACEwYBhgL/s200/THALIA-ericbentley.jpg" width="149" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i style="font-size: 12.8px;"><span style="font-size: x-small;">2006 Thalia Laureate<br />Eric Bentley</span></i></td></tr>
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<span style="font-size: large;"><b>The Thalia Prize</b> is IATC’s prestigious award for outstanding contribution to the field of theatre criticism, and to critics and theoreticians who have played significant roles in shaping our understanding of theatre spanning different cultural settings, politics, and aesthetics.</span><br />
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<span style="font-size: large;"><b>Previous Thalia Prize</b> honorees have featured an impressive selection of laureates: <b>Eric Bentley</b> (USA, 2006), <b>Jean-Pierre Sarrazac</b> (France, 2008), <b>Richard Schechner</b> (USA, 2010), <b>Kapila Vatsyayan</b> (India, 2012), <b>Eugenio Barba</b> (Denmark, 2014), <b>Femi Osofisan</b> (Nigeria, 2016). </span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-Xz1WEVPufoI/WiG5pBPA6UI/AAAAAAAAC4k/3Ov-GVMQOGYfUzW-asdm9HtZDKvo9rX2wCLcBGAs/s1600/THALIA-Sarrazac.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-size: large;"><img border="0" data-original-height="330" data-original-width="284" height="200" src="https://2.bp.blogspot.com/-Xz1WEVPufoI/WiG5pBPA6UI/AAAAAAAAC4k/3Ov-GVMQOGYfUzW-asdm9HtZDKvo9rX2wCLcBGAs/s200/THALIA-Sarrazac.jpg" width="171" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-size: x-small;">2008 Thalia Laureate<br />Jean-Pierre Sarrazac</span></i></td></tr>
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<span style="font-size: large;"><b>Recommenders are urged</b> to consider </span><br />
<span style="font-size: large;">candidates whose body of work has been influential at home, in their regions, and abroad, or whose writing they feel merits attention on an international platform. National and regional sections are therefore not restricted to suggesting candidates from their own countries, but may refer any candidate believed to fulfill the criteria of the Prize.</span><br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-3TPwQBSApU0/WiGx3163zEI/AAAAAAAAC4Y/g3KfCsJa0dMJvC7h1-R6pq5tl7iKO3EJQCEwYBhgL/s1600/THALIA-Schechner.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-size: large;"><img border="0" data-original-height="264" data-original-width="350" height="150" src="https://1.bp.blogspot.com/-3TPwQBSApU0/WiGx3163zEI/AAAAAAAAC4Y/g3KfCsJa0dMJvC7h1-R6pq5tl7iKO3EJQCEwYBhgL/s200/THALIA-Schechner.png" width="200" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-size: x-small;">2010 Thalia Laureate<br />Richard Schechner</span></i></td></tr>
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<span style="font-size: large;"><b>National and regional sections</b> proposing candidates must submit a brief biography of the candidate along with translation (where needed) of excerpts from the candidate’s work in English or in French, the working languages of IATC. Thalia honoree recommendations must be submitted by December 19, 2017.</span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-vFBHcmeHDQA/WiGx44qmBGI/AAAAAAAAC4Y/0w0TDdTI270bL7rEJkHFkky5l7KxsjqawCEwYBhgL/s1600/THALIA-kapila-vatsyayan-223x234.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-size: large;"><img border="0" data-original-height="234" data-original-width="223" height="200" src="https://4.bp.blogspot.com/-vFBHcmeHDQA/WiGx44qmBGI/AAAAAAAAC4Y/0w0TDdTI270bL7rEJkHFkky5l7KxsjqawCEwYBhgL/s200/THALIA-kapila-vatsyayan-223x234.jpg" width="190" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-size: x-small;">2012 Thalia Laureate<br />Kapila Vatsyayan</span></i></td></tr>
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<span style="font-size: large;"><b>Each national or regional</b> section may propose only one candidate. National and regional sections should note that the successful candidate must be present to receive the award at the Thalia Prize Award Ceremony at the World Congress in Banff, Canada (September 23–28, 2018).</span><br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-6X_kNKecdZw/WiGx3SEEobI/AAAAAAAAC4Y/S4VjScZPu00Tx-noUvNfgtnhqvEmGkPxACEwYBhgL/s1600/THALIA-EugenioBarba-320x234.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-size: large;"><img border="0" data-original-height="234" data-original-width="320" height="145" src="https://4.bp.blogspot.com/-6X_kNKecdZw/WiGx3SEEobI/AAAAAAAAC4Y/S4VjScZPu00Tx-noUvNfgtnhqvEmGkPxACEwYBhgL/s200/THALIA-EugenioBarba-320x234.jpg" width="200" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-size: x-small;">2014 Thalia Laureate<br />Eugenio Barba</span></i></td></tr>
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<span style="font-size: large;"><b>The Executive Committee</b> of IATC will prepare the candidacies received from the national or regional sections for its next meeting in Craiova, Romania in April 2018, where the decision on the laureate will be taken.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>For more information</b> or to make a recommendation, members of the American section should contact <b>Jeffrey Eric Jenkins</b> (jej [at] illinois.edu).</span></div>
Jeffrey Eric Jenkinshttp://www.blogger.com/profile/15729636680058681974noreply@blogger.com0tag:blogger.com,1999:blog-5695277991452689596.post-67760131857128086142017-08-27T14:54:00.000-04:002017-08-27T14:54:10.951-04:00UPDATE: More on Serebrennikov<div class="separator" style="clear: both; text-align: left;">
<span style="font-size: large;"><b><i>The Moscow Times</i></b> offers perspective on the detention of Kirill Serebrennikov. For <a href="https://themoscowtimes.com/authors/13">John Freedman</a>'s commentary, click <a href="https://themoscowtimes.com/articles/show-trial-kirill-serebrennikov-58759">here</a>.</span></div>
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<a href="https://themoscowtimes.com/articles/show-trial-kirill-serebrennikov-58759"><img border="0" data-original-height="1244" data-original-width="1040" height="640" src="https://2.bp.blogspot.com/-NcahyPjj7cw/WaMTQmczOzI/AAAAAAAAC0E/JFFYXfsYh1g1Gu9HSg9xwAP7xayMF9P2wCLcBGAs/s640/FullSizeRender.jpg" width="530" /></a></div>
<br />Jeffrey Eric Jenkinshttp://www.blogger.com/profile/15729636680058681974noreply@blogger.com0tag:blogger.com,1999:blog-5695277991452689596.post-84688360348452956952017-08-26T21:17:00.000-04:002017-08-26T21:17:41.467-04:00RUSSIA: Director Under House Arrest<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-BjaFsBqcIIA/WaH2HvMC6ZI/AAAAAAAACzo/Y2pv_tIzjTIe44vobyChTbffUgMbDBwtQCEwYBhgL/s1600/Serebrennikov.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1000" data-original-width="706" height="200" src="https://2.bp.blogspot.com/-BjaFsBqcIIA/WaH2HvMC6ZI/AAAAAAAACzo/Y2pv_tIzjTIe44vobyChTbffUgMbDBwtQCEwYBhgL/s200/Serebrennikov.jpg" width="140" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Kirill Serebrennikov</i></td></tr>
</tbody></table>
<span style="font-size: large;"><b>The Russian Theatre Critics Association</b> has issued a statement of its concern over undue pressure applied in the case of director Kirill Serebrennikov, who was arrested under cover of darkness in St. Petersburg and placed under house arrest in Moscow. An English translation of the critics' association follows here, with slight editing for clarity:</span><br />
<blockquote class="tr_bq">
<blockquote class="tr_bq" style="tab-stops: 297.0pt;">
<span style="color: black; font-family: Times; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><b>The Russian
Theatre Critics Association</b>, a national section of the International
Association of Theatre Critics (AICT-IATC), has issued a public statement to
express anxiety over pressure being exerted on theatre director Kirill
Serebrennikov.</span> </blockquote>
</blockquote>
<blockquote class="tr_bq">
<blockquote class="tr_bq" style="tab-stops: 297.0pt;">
<span style="color: black; font-family: Times; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><b>Serebrennikov was deported </b>at night by force to
Moscow from St. Petersburg, where he was shooting a movie. The next day he was
sentenced to house arrest by a regional court.</span> </blockquote>
</blockquote>
<blockquote class="tr_bq">
<blockquote class="tr_bq" style="tab-stops: 297.0pt;">
<span style="color: black; font-family: Times; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><b>The
situation surrounding</b> Serebrennikov grew more tense in July when the opening of
the ballet <i style="mso-bidi-font-style: normal;">Rudolph Nureyev</i>, which he
directed at Bolshoi Theatre, was canceled as controversial.</span> </blockquote>
</blockquote>
<blockquote class="tr_bq">
<blockquote class="tr_bq" style="tab-stops: 297.0pt;">
<span style="color: black; font-family: Times; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><b>Serebrennikov is accused</b>
of misusing funds that were targeted for a cultural project titled The Platform.
One of the items in the prosecutor’s investigation implies that the production of
<i style="mso-bidi-font-style: normal;">Midsummer Night's Dream </i>was not
created at all. This assertion is false: the production has been seen dozens of
times, it continues to run, received a range of reviews in various media, and
was nominated for the national theatre prize, The Golden Mask. The
investigation continues to assert that the work does not exist.</span> </blockquote>
</blockquote>
<blockquote class="tr_bq">
<blockquote class="tr_bq" style="tab-stops: 297.0pt;">
<span style="color: black; font-family: Times; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><b>There are
deep doubts</b> about the motivations for the prosecution of Serebrennikov. The
responsibility of the stage director is unrelated to financial and production
activities, which is covered by an investigation of the producer and the bursar
for The Platform project. Serebrennikov never refused to answer questions in
the course of the investigation of the case.</span> </blockquote>
</blockquote>
<blockquote class="tr_bq">
<blockquote class="tr_bq" style="tab-stops: 297.0pt;">
<span style="color: black; font-family: Times; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><b>His house
arrest</b> seems an unnecessary use of pressure on the artistic creator. Serebrennikov has
never staged blatantly political performances. Nevertheless, the style and
issues raised in his works are always fresh, unconventional, and truly
innovative. The director was personally outspoken in support of liberal values.
He was critical of the trial against the Pussy Riot group, of homophobic
legislation, of church obscurantism, and he has supported transparent
presidential elections.</span> </blockquote>
</blockquote>
<blockquote class="tr_bq">
<blockquote class="tr_bq" style="tab-stops: 297.0pt;">
<span style="color: black; font-family: Times; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><b>Just a
month ago</b>, the board of Europe Theatre Prize announced its decision to award
Serebrennikov the New Theatrical Reality prize at this December’s event in
Rome.</span> </blockquote>
</blockquote>
<blockquote class="tr_bq">
<blockquote class="tr_bq" style="tab-stops: 297.0pt;">
<span style="color: black; font-family: Times; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><b>Serebrennikov's
impact</b> in Russian culture is truly significant. He created several productions
at the citadel of realistic theatre—the Moscow Art Theatre—and helped revive it
for new audiences. He created The Seventh Studio of Moscow Art Theatre and
educated a company of actors who used artistic language matched to a new dramatic
style and thought for the generation now emerging. This group has undertaken
The Platform project that received The Golden Mask in 2012, titled <i style="mso-bidi-font-style: normal;">The Scoundrels</i>, about right-wing radicals
in contemporary Russia.</span> </blockquote>
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<blockquote class="tr_bq">
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<span style="color: black; font-family: Times; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><b>Serebrennikov supervised the rebranding</b> of a Moscow
theatre house as the Gogol Center, which has attracted young crowds and become
one of most thrilling places for drama in Moscow. Productions created by
Serebrennikov generated discussion and sometimes controversy among its audiences.
Now under house arrest, he is unable to complete a theatre production for the
Gogol Center in addition to his film about the early the Russian rock 'n' roll
generation that was shooting in St. Petersburg. His project of opera film of <i style="mso-bidi-font-style: normal;">Hansel and Gretel </i>at Stuttgart Opera
house, filmed partly in Rwanda, must be postponed.</span> </blockquote>
</blockquote>
<blockquote class="tr_bq">
<blockquote class="tr_bq" style="tab-stops: 297.0pt;">
<span style="color: black; font-family: Times; font-size: 13.5pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><b>The
Russian Theatre Critics Association</b> hopes that the international community of
theatre critics will support our attempts to protect the social and artistic
rights of Kirill Serebrennikov and of the evolving Russian artistic culture.</span> — <span style="font-size: 13.5pt;">August
24, 2017</span></blockquote>
</blockquote>
<span style="font-size: large;"><b><i>Deadline</i>'s Greg Evans</b> also <a href="http://deadline.com/2017/08/russian-director-kirill-serebrennikov-arrest-pussy-riot-putin-1202155008/">reported on August 24</a> that the European Film Academy called for the "unconditional release" of Serebrennikov in an article that showed the director in an apparent holding cell. A tweet by Pussy Riot is quoted in the <i>Deadline</i> piece saying that Serebrennikov "had been placed under house arrest by 'Putin's butchers.'"</span><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-oN9KzkO3QmE/WaIb-7Ep0vI/AAAAAAAACz0/fHOzW_7nKdQGmOEeVuTglfPpPvhJd3nNgCLcBGAs/s1600/rexfeatures_9017174ag.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="299" data-original-width="446" height="267" src="https://4.bp.blogspot.com/-oN9KzkO3QmE/WaIb-7Ep0vI/AAAAAAAACz0/fHOzW_7nKdQGmOEeVuTglfPpPvhJd3nNgCLcBGAs/s400/rexfeatures_9017174ag.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Holding cell? Kirill Serebrennikov Photo: REX/Shutterstock</i></td></tr>
</tbody></table>
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Jeffrey Eric Jenkinshttp://www.blogger.com/profile/15729636680058681974noreply@blogger.com0tag:blogger.com,1999:blog-5695277991452689596.post-38347542308016499192017-07-21T17:03:00.000-04:002017-07-21T17:05:07.320-04:00CALL: Populism and Theatre<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container tr_bq" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-oFUykUg8CRo/WXJm3neWgFI/AAAAAAAACyE/0Na3GJnA9PUTnP8IgBnwFc43oeikA-7XgCLcBGAs/s1600/Shota_Rustaveli_Theatre_and_Film_University.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="722" data-original-width="1280" height="225" src="https://2.bp.blogspot.com/-oFUykUg8CRo/WXJm3neWgFI/AAAAAAAACyE/0Na3GJnA9PUTnP8IgBnwFc43oeikA-7XgCLcBGAs/s400/Shota_Rustaveli_Theatre_and_Film_University.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption"><i>Shota Rustaveli State University of Theatre and Film. Photo: Giorgi Balakhadze</i></td></tr>
</tbody></table>
<span style="font-size: large;"><b>An international colloquium</b> on "Theatre and Populism" has been announced for October 4–5, 2017, in Tbilisi, Georgia. This is an event sanctioned by the International Association of Theatre Critics (<a href="http://aict-iatc.org/en/">AICT-IATC</a>) in association with the <a href="http://www.tbilisiinternational.com/en">Tbilisi International Festival of Theatre</a>, and Shota Rustaveli Tbilisi State University of Theatre and Film. Following is an excerpted English translation of the call for papers.</span><br />
<blockquote>
<span style="font-size: large;"><b>In modern history</b> and, especially, in recent years "Populism" has become a commonly used term in politics and culture. Mig</span><span style="font-size: large;">ht we, therefore, deploy this term to describe political, cultural or everyday life? Is it useful as a descriptor for aesthetic, practical, or socio-political dimensions in our experience? Is there even a precise linguistic definition of the term?</span></blockquote>
<blockquote>
<span style="font-size: large;"><b>For understanding Populism</b>, researchers often refer to 19th century Russian and American populists, to Ancient Greeks, to the slogan of the French Revolution "Exprimer le peuple," to present-day politicians such as Le Pen, Trump, Erdogan, and to Brecht’s political theatre. According to Pierre Rosan Vallon, Populism is the ugliest answer to the dysfunctions of democracy.</span></blockquote>
<blockquote>
<span style="font-size: large;"><b>With dissonant, contradictory</b> definitions at the core of the phenomenon and with diverse means, possibilities, methods, and resources available for its implementation, we may trace one common feature: that populism functions only if it is targeted to a certain group, stratum, or community of people that can be defined and manipulated. Thus, Populism, like theatre, cannot exist without people, without audience.</span></blockquote>
<blockquote>
<span style="font-size: large;"><b>The main topic</b> of our 5th International Colloquium launched under the umbrella of the International Association of Theatre Critics and its Georgian Section is "Theatre and Populism." Topics of interest for papers include but are not limited to:</span><br />
<ul>
<li><span style="font-size: large;">What are the traps of populism in contemporary theatre?</span></li>
</ul>
<ul>
<li><span style="font-size: large;">Populist cultural policy in theatre of different countries: Does it exist?</span></li>
</ul>
<ul>
<li><span style="font-size: large;">Audiences and Populism: Please or provoke the audience?</span></li>
</ul>
<ul>
<li><span style="font-size: large;">Populism as the tool for attracting the audience</span></li>
</ul>
<ul>
<li><span style="font-size: large;">Narration in performances – truth or lie?</span></li>
</ul>
<ul>
<li><span style="font-size: large;">Does populist playwriting or aesthetic aspects and clichés of a populist performance exist?</span></li>
</ul>
<span style="font-size: large;"><b>Participants are asked</b> to forward abstracts (no longer than 200 words) in English to Ms. Lela Ochiauri, organizing committee member, <a href="mailto:teklataia@yahoo.com">teklataia@yahoo.com</a>. The deadline is August 10, 2017. Invitations will be dispatched before August 20, 2017. A diversity of proposals from around the world are most welcome. </span><span style="font-size: large;">Participants will have at their disposal technical equipment and support of Power Point and DVD presentations. </span><span style="font-size: large;">Oral presentations should not exceed 15 minutes to allow time for discussion. </span><span style="font-size: large;">The working languages of the colloquium are English and Georgian, with simultaneous translation.</span></blockquote>
<blockquote>
<span style="font-size: large;"><b>Papers will be published</b> in a special issue of <i>Centaur</i> by Tbilisi State University of Theatre and Film. The complete text of papers (up to 4,000 words in English or French) should be submitted for translation in electronic form no later than October 1, 2017.</span></blockquote>
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</style>Jeffrey Eric Jenkinshttp://www.blogger.com/profile/15729636680058681974noreply@blogger.com0tag:blogger.com,1999:blog-5695277991452689596.post-72938593603831389752017-06-30T16:51:00.003-04:002017-06-30T17:14:57.388-04:00CALL: Three Young Critics' Workshops<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-KLJTD_Qr6f0/WVahdYtHYXI/AAAAAAAAAUg/II36TP46jrs6lkrH6DVPN04Gc5g1XvGhACLcBGAs/s1600/RO_IS_Iasi_%252C_National_Theatre.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://3.bp.blogspot.com/-KLJTD_Qr6f0/WVahdYtHYXI/AAAAAAAAAUg/II36TP46jrs6lkrH6DVPN04Gc5g1XvGhACLcBGAs/s400/RO_IS_Iasi_%252C_National_Theatre.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>National Theatre. Iași, Romania </i></td></tr>
</tbody></table>
<span style="font-size: large;"><b>The International Theatre Critics Association</b> (AICT-IATC) has announced three Young Critics' Workshops to be held in the final months of 2017.</span><div>
<span style="font-size: large;"><br /></span></div>
<div>
<span style="font-size: large;"><b>The 10th International Festival of Theatre for Young Audiences:</b> This workshop will be held in Iași, Romania, from October 4 to 10, 2017. The arrival date is October 4 and the departure date is October 10 for a total of a six-night stay. There will be two working groups: one in English and one in French. The size of the groups is limited to ten participants. Monitors will be announced later.</span></div>
<div>
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-aBzfV9tpUwg/WVaqXFkCZuI/AAAAAAAAAU4/yuQ9d_cTH7okp18bRwTRHXKYOCksWgOogCLcBGAs/s1600/dezeen_Wuzhen-Theatre-by-Artech-Architects_ss_1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://1.bp.blogspot.com/-aBzfV9tpUwg/WVaqXFkCZuI/AAAAAAAAAU4/yuQ9d_cTH7okp18bRwTRHXKYOCksWgOogCLcBGAs/s400/dezeen_Wuzhen-Theatre-by-Artech-Architects_ss_1.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Wuzhen Theatre, China</i></td></tr>
</tbody></table>
<div>
<span style="font-size: large;"><b>The 5th Wu Zhen Theatre Festival:</b> This workshop will be held in Wu Zhen (also written Wuzhen and Wu-Zhen, in some sources), China, from October 19 to 29, 2017. The festival will take place between October 19 and 29. The exact dates of the workshop, which will include a six-night stay, are to be announced later. There will be two working groups, one in English (ten-participant maximum), monitored by <b>Octavian Saiu</b>, Adjunct Secretary General of IATC, and one in Chinese (six-participant maxium), monitored by <b>Peng Tao</b>, President of the IATC China section. The waterside town of Wu Zhen has been declared "UNESCO World Heritage Site." According to our colleagues from China, it is the "uniquely beautiful location of the most vigorous theatre festival in China today." Workshop participants will have the opportunity to see performances created by artists such as Katie Mitchell and Oskaras Koršunovas, new works produced by Germany's <b>Schaubühne</b> and Russia's <b>Vakhtangov State Academy Theatre</b>, in addition to a wide variety of productions from Australia, Switzerland, Brazil, Lebanon, Ireland, Romania, and other countries. Alongside such international productions, Wu Zhen Theatre Festival will also offer a varied showcase of Chinese theatre created by young and established theatre artists such as <b>Tian Qinxin</b>, <b>He Nian</b>, <b>Zhou Ke</b>, and <b>Ban Zan</b>.</span></div>
<div>
<span style="font-size: large;"><br /><b>The 2017 International Association for Performing Arts and Research Festival:</b> This workshop will be held from November 4 to 10, 2017, in Pune, India. The arrival date is November 4 and the departure date is November 10 for a total stay of six nights. There will be two working groups of 6 participants each. The English-speaking group will be monitored by <b>Deepa Punjani</b>, a member of the IATC Executive Committee, and <b>Ajay Joshi</b>. The French-speaking group will be monitored by <b>Mariko Anazawa</b>, Adjunct Director of Training Workshops for IATC. </span></div>
<div>
<span style="font-size: large;"><br /></span></div>
<div>
<span style="font-size: large;"><b>American Theatre Critics Association</b> members who are 35 years of age and younger may apply for admission to these workshops by submitting the completed application information below to the Director of Training Workshops, <b>Jean-Pierre Han</b> (<a href="mailto:jp.han@free.fr">jp.han@free.fr</a>). The application is also available on the website IATC website <a href="http://aict-iatc.org/">aict-iatc.org</a>). <b>Please send all required attachments to Jean-Pierre Han, <a href="mailto:jp.han@free.fr">jp.han@free.fr</a> before August 15, 2017.</b></span></div>
<div>
<span style="font-size: large;"><br /></span></div>
<div>
<div style="text-align: center;">
<b><span style="font-size: large;">International Young Critics Workshop Application</span></b></div>
<b><span style="font-size: large;">Name:</span></b></div>
<div>
<b><span style="font-size: large;">Gender:<br />Nationality:<br />Age:<br />E-mail: <br />Other contacts (telephone, mobile):<br />Language (English / French):<br />IATC national section recommending:<br />Other materials required:</span></b><blockquote class="tr_bq">
<b><span style="font-size: large;">1) Short CV and main professional experience (newspapers, journals, radio/TV, web, blog, etc.)<br />2) Three attached samples of published articles<br />3) Proof of membership in the American Theatre Critics Association (ATCA) or other IATC national section</span></b></blockquote>
</div>
ATCA International Committeehttp://www.blogger.com/profile/03949189046929847056noreply@blogger.com0tag:blogger.com,1999:blog-5695277991452689596.post-42383108860002718922017-03-23T02:35:00.000-04:002017-03-23T03:02:23.691-04:00TURKEY: World Theatre Day<div class="separator" style="clear: both; text-align: center;">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-UdLMe6QWEJI/WNNcF2WP25I/AAAAAAAAAUA/yDYFv41-DNk35QcafxRwuDDt9f0uxkPxACLcB/s1600/theatre2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://3.bp.blogspot.com/-UdLMe6QWEJI/WNNcF2WP25I/AAAAAAAAAUA/yDYFv41-DNk35QcafxRwuDDt9f0uxkPxACLcB/s400/theatre2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Ancient Roots: Theatre at Ephesus, Turkey</i></td></tr>
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<span style="font-family: "times" , "times new roman" , serif;"><b><br /><span style="font-size: large;">As World Theatre Day 2017</span></b><span style="font-size: large;"> approaches on March 27, thoughts of theatre artists and critics turn increasingly to global concerns over freedom of expression. <a href="http://atcainternational.blogspot.com/2017/03/news-lagos-critics-conference.html">In Nigeria recently</a>, theatre critics hosted a forum aimed at examining the boundaries that face critics (and artists) when the political grounds on which they stand, to paraphrase the great playwright <a href="http://aas.princeton.edu/blog/publication/thegroundonwhichistand/">August Wilson</a>, seem to undergo tectonic shifts daily.</span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: medium;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-size: large;"><b style="font-family: Times, "Times New Roman", serif;"><a href="http://atcainternational.blogspot.com/2017/03/response-turkish-critics-engage.html">Recent events in Turkey</a></b><span style="font-family: "times" , "times new roman" , serif;">, a country that the West has long celebrated as a significant example of how democracy may work amid the pressures of encroaching theocratic impulses, have raised concerns about the </span><a href="http://atcainternational.blogspot.com/2017/03/report-theater-trouble-in-turkey.html" style="font-family: Times, "Times New Roman", serif;">lengths to which those in power will go</a><span style="font-family: "times" , "times new roman" , serif;"> to maintain a status quo. Turkey is also a physical crossroads of the ancient world where theatre has deep roots and a powerful claim on the imagination and spirit of the populace. Istanbul alone, which literally bridges east and west, may be the truest expression of the cosmopolitan in the dozens of languages and dialects spoken in its streets, and in the scores of cultures across </span><span style="font-family: "times" , "times new roman" , serif;">millennia that have been </span><span style="font-family: "times" , "times new roman" , serif;">inscribed on its urban landscape. The Theatre Critics Association of Turkey, a constituent group of the </span><a href="http://aict-iatc.org/en/" style="font-family: Times, "Times New Roman", serif;">International Association of Theatre Critics (AICT-IATC)</a><span style="font-family: "times" , "times new roman" , serif;">, has issued a clarion statement that is filled with passion and a hopeful outlook for the future of the art form. It is brave, bold, and an inspiration in these times of uncertainty. (The translation below has been edited slightly for clarity.)</span></span></div>
<blockquote class="tr_bq" style="text-align: left;">
<div style="text-align: center;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b>Turkish National Declaration for World Theatre
Day</b></span> </div>
</blockquote>
<blockquote class="tr_bq" style="text-align: left;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b></b></span><span style="font-size: large;"><b style="font-family: Times, "Times New Roman", serif;">We are at the threshold</b><span style="font-family: "times" , "times new roman" , serif;"> of twilight. The art of
theatre, however, is the essential medium to lead us through the threshold and into radiant
days.</span></span> </blockquote>
<blockquote class="tr_bq" style="text-align: left;">
<span style="font-size: large;"><span style="font-family: "times" , "times new roman" , serif;"></span></span><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: large;"><b>At present, academics</b> who act for peace in our society, have been exported from their university. As a result of these actions, one of the oldest and most
prominent theatre departments in Turkey is about to be closed. One of the private theatre schools, which has graduated many young
members of the Turkish theatre scene, has been sabotaged by arson as the
theatre supported the secular, parliamentarian republic of the present. Other
private theatre groups are deprived of necessary state financial support. Theatre artists who stand in protest and call for support of environmental rights are exported from their municipal or state theatre
companies. In these times, it is incredible to celebrate World Theatre Day and to
perform the art of theatre, yet there is hope as well.</span></span> </blockquote>
<blockquote class="tr_bq" style="text-align: left;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: large;"></span></span><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b>We, the workers of theatre</b>, never doubt the power of the
theatre to change lives and transform people. The theatre is our <i>sine qua non</i>.</span> </blockquote>
<blockquote class="tr_bq" style="text-align: left;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"></span><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b>Despite all obstacles</b> it must face, theatre will continue to raise society’s awareness, to guide audiences to
critical thinking, to defend freedom of thought and basic human rights, to
conceive truth and to help the masses conceive it, too.</span> </blockquote>
<blockquote class="tr_bq" style="text-align: left;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"></span><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b>Our word will never end,</b> our curtains will never be closed by force, our limelight will never be extinguished, and our "fine voice" under this "dome of many colored glass" will never surrender to darkness.</span></blockquote>
<span style="font-size: large;"><b>In this time</b> of rising insecurity for free expression, when a Pandora's Box of hateful ideology has been unleashed across the globe, one is forced to pause and consider: Will I be so bold when it is my turn to speak truth to power? Our colleagues in Turkey point the way.</span>ATCA International Committeehttp://www.blogger.com/profile/03949189046929847056noreply@blogger.com2tag:blogger.com,1999:blog-5695277991452689596.post-90733717062354149302017-03-12T18:55:00.001-04:002017-03-12T18:55:27.724-04:00WOMEN: Actors in Afghanistan<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/--jdZ7bKyGrc/WMXHxEfoQiI/AAAAAAAAAS8/l0PrKCbxpb0B-DCTUzG99E8zmTV9AiZWgCLcB/s1600/2017-afghan-1399041203editor_anneta_papathanassiou-resize-225x210.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="185" src="https://1.bp.blogspot.com/--jdZ7bKyGrc/WMXHxEfoQiI/AAAAAAAAAS8/l0PrKCbxpb0B-DCTUzG99E8zmTV9AiZWgCLcB/s200/2017-afghan-1399041203editor_anneta_papathanassiou-resize-225x210.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Activist Director: Anneta Papathanassiou</i><span style="background-color: white;"><br /></span></td></tr>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;"><b>Do you think</b> being an artist is difficult? Banned under Taliban rule (1994–2001), Afghan theatre has been making a comeback with many women at the forefront. <a href="http://www.imdb.com/title/tt3472798/"><b>Playing With Fire: Women Actors of Afghanistan</b></a> (2014) by <a href="https://pro.festivalscope.com/director/papathanasiou-anneta"><b>Anneta Papathanassiou</b></a> exposes the ongoing erosion of Afghan women's rights in this powerful film. The director's timely, eye-opening documentary perfectly captures art’s transformative power and the dangers faced by these courageous women artists. It is a stark reminder that every day is <a href="https://www.internationalwomensday.com/"><b>International Women's Day</b></a>.</span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: large;"><br /></span>
<a href="https://2.bp.blogspot.com/-xN8NkCc-yeg/WMXRk0mMtuI/AAAAAAAAATY/Je8qFh1HBtMAaG9ygYb15Mf4FRENYikngCLcB/s1600/2017-afghan.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://2.bp.blogspot.com/-xN8NkCc-yeg/WMXRk0mMtuI/AAAAAAAAATY/Je8qFh1HBtMAaG9ygYb15Mf4FRENYikngCLcB/s1600/2017-afghan.JPG" /></a><span style="font-family: Times, Times New Roman, serif; font-size: large;"><b>This story is certain</b> to inspire those who support the creation of living art and freedom of artistic expression. Everyone who cares about the performing arts in the evolving global milieu should see this film. In the coming week, there will be a free, public screening at the <a href="http://illinois.edu/calendar/detail/596?eventId=33260477">Spurlock Museum on the campus of the University of Illinois at Urbana–Champaign at 7 p.m., Tuesday, March 14</a>.</span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: large;"><br /></span>
<span style="font-family: Times, Times New Roman, serif; font-size: large;"><b>Iranian theatre critic</b>, director, and playwright <a href="https://www.facebook.com/fishkat15?fref=ts"><b>Katayoun H. Salmasi</b></a> will introduce the film and lead a post-screening discussion. Salmasi is former vice president of the Iran Theatre Critics Association who currently advises the <a href="https://www.facebook.com/ICA.UIUC/?fref=ts"><b>Iranian Cultural Association</b></a> at the <a href="https://theatre.illinois.edu/"><b>University of Illinois at Urbana–Champaig</b>n</a>.</span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: large;"><br /></span>
<b><span style="font-family: Times, Times New Roman, serif; font-size: large;">AsiaLENS Presents</span></b><br />
<div>
<span style="font-family: Times, Times New Roman, serif; font-size: large;"><a href="http://www.imdb.com/title/tt3472798/"><b>Playing With Fire: Women Actors of Afghanistan</b></a> (2014)</span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: large;">Directed by Anneta Papathanassiou</span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: large;">Afghanistan (58 minutes) </span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: large;">In English and Afghan (Dari), with English subtitles</span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: large;"><br /></span>
<span style="font-family: Times, Times New Roman, serif; font-size: large;"><b>AsiaLENS is a series</b> of free public film screenings and lecture/discussion programs—organized by <a href="http://aems.illinois.edu/">Asian Education Media Service</a> (AEMS) and the <a href="http://www.eaps.illinois.edu/">Center for East Asian and Pacific Studies</a> (CEAPS) in collaboration with <a href="http://www.spurlock.illinois.edu/">Spurlock Museum</a>—presenting recent documentary and independent films on issues reflecting contemporary life in Asia. All AsiaLENS screenings are free and open to the public.</span></div>
ATCA International Committeehttp://www.blogger.com/profile/03949189046929847056noreply@blogger.com0tag:blogger.com,1999:blog-5695277991452689596.post-6790669020614959172017-03-09T18:43:00.003-05:002017-03-09T18:43:52.502-05:00NEWS: Lagos Critics' Conference<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-2N04GwX06uE/WMHkdJ4GMjI/AAAAAAAAASk/kDkqpIZZkowYw0vJl9fPAB_lUszeM4hSwCEw/s1600/2017-National-Theatre-Lagos.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://1.bp.blogspot.com/-2N04GwX06uE/WMHkdJ4GMjI/AAAAAAAAASk/kDkqpIZZkowYw0vJl9fPAB_lUszeM4hSwCEw/s400/2017-National-Theatre-Lagos.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Conference Home: National Theatre, Iganmu, Lagos</i></td></tr>
</tbody></table>
<span style="font-size: large;"><b>Our friends in the Nigeria section</b> of the International Association of Theatre Critics (IATC) recently hosted a theatre critics' conference at the National Theatre, Iganmu, which received a keynote address from playwright, critic, and 2016 Thalia Prize laureate, Femi Osofisan. The conference topic of "Theatre, Criticism and Politics — Where Are the Limits?" arose, according to Emmanuel Dandaura, president of the Nigeria section as a response to events occurring throughout the globe. In a statement to the press, Dandaura noted that</span><br />
<br /><div>
<blockquote class="tr_bq">
<span style="font-size: large;"><b>Politics, theatre,</b> and theatre criticism have long been interwoven and interdependent. In the highest peaks of its history, theatre and other performing arts have been a collective self-representation of society, its basic values, and beliefs, including mainstream political narratives.</span><span style="font-size: large;"><br /></span><span style="font-size: large;">When contesting these narratives, theatre has been more ironic, subversive and blasphemous than openly confrontational — although direct theatrical conflicts with society are also well known.</span> </blockquote>
<blockquote class="tr_bq">
<span style="font-size: large;"><b>When theatre criticism</b> appeared as a genre in Western media in the 18th century, it fought the same battle as the (bourgeois) theatre itself. Theatre and criticism were important social platforms in the battle against conservative, aristocratic, and clerical states – even as they advocated a new and progressive bourgeois society.</span> </blockquote>
<blockquote class="tr_bq">
<span style="font-size: large;"><b>In the last</b> two and a half centuries, the relationship between these three "players"—politics, theatre, and theatre criticism—has been fluid. There were periods in which all were going in the same direction—for good or ill. </span> </blockquote>
<blockquote class="tr_bq">
<span style="font-size: large;"><b>In some historical</b> periods, (dissident) theatre was courageous, provocative, and challenging. Criticism, however, strongly controlled by mainstream political power (as with much of the media), could not support it. In some constructs, media demanded that theatre be more politically daring.</span> </blockquote>
<blockquote class="tr_bq">
<span style="font-size: large;"><b>The International</b> Theatre Critics Conference (ITCC), therefore, will interrogate how global theatre and theatre criticism respond to current political events.</span> </blockquote>
<blockquote class="tr_bq">
<span style="font-size: large;"><b>Does theatre, internationally</b>, address these challenging topics? Is there a new political theatre? Is there a growing trend toward the political or do individual cases arise on their own? How do critics react? Are we free (enough) to openly support theatre that dissents from accepted political and cultural norms? Is the social impact of this type of work more relevant than its artistry? How do we recognize a politically brave theatre in societies different from our own? If we recognize it, how do we communicate it to our readers?</span></blockquote>
<br />
<span style="font-size: large;"><b>These queries</b> and proposed answers were also addressed by an international group of critics led by IATC President Margareta Sörenson. What role do you think critics should play in analyzing and interpreting the political impact of theatre? Does it matter? Is it a factor in your response to theatre?</span><br />
<div class="separator" style="clear: both; text-align: center;">
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ATCA International Committeehttp://www.blogger.com/profile/03949189046929847056noreply@blogger.com0tag:blogger.com,1999:blog-5695277991452689596.post-47918119852038639052017-03-08T01:04:00.000-05:002017-03-08T01:04:01.637-05:00RESPONSE: Turkish Critics Engage<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container tr_bq" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-CygobRhzGAM/WL-V3mePf7I/AAAAAAAAAR0/bTgQ4yd-U5YnA_ATPJhj7ZttlGijiTtrgCLcB/s1600/2017-mujdat%2Btheatre%2Bn_109948_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="207" src="https://4.bp.blogspot.com/-CygobRhzGAM/WL-V3mePf7I/AAAAAAAAAR0/bTgQ4yd-U5YnA_ATPJhj7ZttlGijiTtrgCLcB/s400/2017-mujdat%2Btheatre%2Bn_109948_1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Something Rotten?: Müdjat Gezen Arts Center after presumed arson. Photo: AA</i></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: left;">
<span style="font-size: large;"><span lang="TR"><b>Theatre critics</b> in Turkey report to us that, as theater academics were being expelled during the "state of emergency," a significant theater academy founded by Turkish actor and director <a href="http://www.hurriyetdailynews.com/arson-attack-staged-on-theater-academy-in-istanbul-.aspx?pageID=238&nID=109948&NewsCatID=509">Müjdat Gezen was burned.</a> Gezen described the act as a "terrorist crime" and took pleasure in noting that the bronze bust of the hero of modern Turkey, Mustafa Kemal Ataturk, was unscathed in the attack.</span></span></div>
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<span style="font-size: large;"><span lang="TR"><br /></span></span></div>
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<span style="font-size: large;"><span lang="TR"><b>The Theatre Critics</b> Association of Turkey responded with a document titled "</span><span style="text-align: center;"><span lang="TR">Something is
Rotten in the Turkish Republic." Parts of the following have been edited for clarity:</span></span></span></div>
<blockquote>
<span style="font-size: large;"><span lang="TR" style="mso-ansi-language: TR;"><b>In Turkey,</b>
academicians who sign in support of social peace continue to be expelled from their
institutions with a state of emergency decree. Prestigious professors of
the Theatre Department in Ankara University's Faculty of Language, History
and Geography, were also expelled after other recent expulsions.</span> </span></blockquote>
<blockquote>
<span style="font-size: large;"><span lang="TR" style="mso-ansi-language: TR;"><b>These academics,</b> including members of the International Association of Theatre Critics (IATC) Turkish Section, were unexpectedly and inappropriately removed from their duties despite their professional standing and long experience. With this decision, undergraduate and graduate studies are now suspended. Our greatest hope is that our
distinguished professors will be reinstated and allowed to work at their universities following social
pressure and implementation of the law.</span></span> </blockquote>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-3bZRjanpOzE/WL-cjTwrFBI/AAAAAAAAASM/OTd6KCDclp0zgvoMX51LZzkbCqW-kd3gACLcB/s1600/2017-20150304_mujdat-gezen-den-gulduren-itiraf.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="305" src="https://4.bp.blogspot.com/-3bZRjanpOzE/WL-cjTwrFBI/AAAAAAAAASM/OTd6KCDclp0zgvoMX51LZzkbCqW-kd3gACLcB/s400/2017-20150304_mujdat-gezen-den-gulduren-itiraf.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Arts Advocate: Müdjat Gezen</i></td></tr>
</tbody></table>
<blockquote>
<span style="font-size: large;"><span lang="TR" style="mso-ansi-language: TR;"><b>As this chaos</b> unfolded in higher education, Müjdat Gezen Art Center, which was created by a
private initiative and educated hundreds of actors and actresses, was burned in a presumed act of arson after being targeted by a media channel broadcasting ideas of the extreme right wing. The center, founded by Müjdat Gezen, was damaged tragically. Gezen is </span>one of the greatest actors
and directors of Turkish theatre and is well known for his Kemalist and secular ideals. Upon hearing news of the fire, hundreds of actors,
actresses, directors, students, and audience members flocked to art center and stood guard
outside. </span></blockquote>
<blockquote>
<span lang="TR" style="font-family: "Times New Roman";"><span style="font-size: large;"><b>The Theatre Critics</b> Association of Turkey,
condemns this discriminatory and criminal behavior. We believe
in the combined resistance of Turkey’s intellectuals, academicians, and artists.
We will continue to work toward the restoration of social morality and the
freedom of thought through the cultivation of the arts.</span></span></blockquote>
<span style="font-size: large;"><b>ATCA International</b> will continue to monitor the unfolding situation as arts institutions throughout the globe respond to an apparent rising tide of artistic and academic oppression.</span>ATCA International Committeehttp://www.blogger.com/profile/03949189046929847056noreply@blogger.com0tag:blogger.com,1999:blog-5695277991452689596.post-18846206373923131632017-03-07T23:39:00.001-05:002017-03-07T23:43:28.290-05:00REPORT: Theater Trouble in Turkey<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-N-d5AD9wcLo/WL97UeG1VvI/AAAAAAAAAQw/9Hu0UWDxh_sauVoBjevttOoFwZBilAnXACLcB/s1600/2017-TurkExport.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://4.bp.blogspot.com/-N-d5AD9wcLo/WL97UeG1VvI/AAAAAAAAAQw/9Hu0UWDxh_sauVoBjevttOoFwZBilAnXACLcB/s320/2017-TurkExport.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>#DoNotTouch: Protest Against Theatre Faculty Expulsions</i> </td></tr>
</tbody></table>
<span style="font-size: large;"><b>As the political</b> situation tightens in Turkey, members of IATC have shared information with us in an attempt to raise awareness of what is happening to the arts and artists in what was once a society that prized democratic discourse.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b>We received</b> a declaration from the Theatre Department of Ankara University, disseminated February 12, 2017, which has been edited for clarity:</span><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-zXBTS4OIXyk/WL-AMc7sX-I/AAAAAAAAARI/Oe9JF73HIqEezbouIGfobDWPXYdNqqjEgCLcB/s1600/2017-400px-Beliz_gucbilmez.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://2.bp.blogspot.com/-zXBTS4OIXyk/WL-AMc7sX-I/AAAAAAAAARI/Oe9JF73HIqEezbouIGfobDWPXYdNqqjEgCLcB/s400/2017-400px-Beliz_gucbilmez.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Exported: Prof. Dr. Beliz Güçbilmez</i></td></tr>
</tbody></table>
<blockquote class="tr_bq" style="text-align: left;">
<span style="font-size: large;"><b>Ankara University, Theatre Department</b> professors Prof. Dr. Selda Berk Öndül, Prof. Dr. Tülin Sağlam, Prof. Dr. Beliz Güçbilmez,
Dr. M. Elif Çongur and the research assistants Ceren Özcan and Şamil Yilmaz
have been exported from duty by the new Decree-law No 686. With Assoc. Prof.
Dr. Süreyya Karacabey, who had been exported before by the Decree-Law No. 679,
seven of our colleagues who form the majority of our department have been
expelled from work in government offices. As a result, the undergraduate
programs of our department have received an irreparable blow, and the
post-graduate programs are almost out of the question.</span></blockquote>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="400" src="https://4.bp.blogspot.com/-0LkgpJdDW1s/WL-AMtwTiSI/AAAAAAAAARY/r-L-8PBr7SIMorm6LqsizWX-evl_zMnoQCLcB/s400/2017-selda-undul1.png" style="margin-left: auto; margin-right: auto;" width="264" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Exported: Prof. Dr. Selda Berk Öndül</i></td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-dJ3o-AsiEGc/WL-AMVHgZGI/AAAAAAAAARQ/-jTY37Z-IVg6nLqy0fahuSvmNdUyNfKsgCLcB/s1600/2017-elif-300x194.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="206" src="https://4.bp.blogspot.com/-dJ3o-AsiEGc/WL-AMVHgZGI/AAAAAAAAARQ/-jTY37Z-IVg6nLqy0fahuSvmNdUyNfKsgCLcB/s320/2017-elif-300x194.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i style="font-size: 12.8px;">Exported: Dr. M. Elif Çongur</i></td></tr>
</tbody></table>
<blockquote class="tr_bq">
<span style="font-family: "times new roman";"><span style="font-size: large;"><b>The
exportation</b> of our professors—who have created invaluable works and made undeniable
contributions to the theatre world of Turkey—by the laws that pertain to only those who “are connected with or are members of or partake in
terror organizations, groups, organisms or organizations or other structures
which are claimed by the National Security Council as threats to our national
security” is inexplicable and wrong as far as justice and conscience are
concerned.</span></span></blockquote>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-oCJ6posfzHM/WL-AMbfALaI/AAAAAAAAARU/tyFBKvgzlUQBSgVxgEnzLCnKSnuOkvoYQCLcB/s1600/2017-sureyya12.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="177" src="https://1.bp.blogspot.com/-oCJ6posfzHM/WL-AMbfALaI/AAAAAAAAARU/tyFBKvgzlUQBSgVxgEnzLCnKSnuOkvoYQCLcB/s320/2017-sureyya12.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Exported: Assoc. Prof. Dr. Süreyya Karacabey</i></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-SJQLsBIdm_M/WL-AMdGglSI/AAAAAAAAARM/-i3rLXxi_WwO67RlYdRiqyC8BsTNWKgyQCLcB/s1600/2017-Tulin_Saglam.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="288" src="https://3.bp.blogspot.com/-SJQLsBIdm_M/WL-AMdGglSI/AAAAAAAAARM/-i3rLXxi_WwO67RlYdRiqyC8BsTNWKgyQCLcB/s320/2017-Tulin_Saglam.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Exported: Prof. Dr. Tülin Sağlam</i></td></tr>
</tbody></table>
<blockquote class="tr_bq">
<span style="font-size: large;"><b style="text-align: justify;">These exportations</b><span style="text-align: justify;"> </span><span style="text-align: justify;">spreading in the Higher Education System, i.e., in the majority of universities in Turkey via new decree-laws has turned into a clearance or liquidation operation. Governance of universities, which are supposed to be institutions of freedom of thought and expression, by decree-laws can by no means be accepted. It is undoubtedly obvious that this attitude will bear critical outcomes and give an irredeemable harm to our colleagues’ and to our department’s future, as well as to our university, to the academia in general and to our country. We here resolve to blame the Ankara University rectorate and demand that our colleagues be returned to their posts immediately. </span> </span></blockquote>
<blockquote class="tr_bq" style="text-align: right;">
<span style="font-size: large;">— Members of the Theatre Department, Faculty of Letters, Ankara
University</span></blockquote>
<span style="font-size: large;"><b>An update</b> has been received from the Theatre Critics Association of Turkey and will follow.</span>ATCA International Committeehttp://www.blogger.com/profile/03949189046929847056noreply@blogger.com1tag:blogger.com,1999:blog-5695277991452689596.post-67529632470600525862017-02-27T20:48:00.001-05:002017-02-27T20:48:26.975-05:00BORDERS: Barba Barred From U.S. Entry<span style="font-size: large;"><b>In a February 22, 2017</b>, posting on their <a href="https://www.facebook.com/Eugenio-Barba-Odin-Teatret-42364427902/?hc_ref=PAGES_TIMELINE&fref=nf">Facebook</a> page, <a href="http://aict-iatc.org/en/awards/eugenio-barba-named-winner-of-the-iatc-thalia-prize-2014/">2014 Thalia Prize laureate</a> Eugenio Barba and his company <a href="http://www.odinteatret.dk/">Odin Teatret</a> announced that they "had to cancel [their] tour to Miami because of immigration problems."</span><div>
<span style="font-size: large;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-GONk5R6kK2I/WLTP62EPhbI/AAAAAAAAAQU/apBYnTJWFYsodhtDuVLUmfsnr63CCpOXgCLcB/s1600/2017-Barba-Tehran.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://3.bp.blogspot.com/-GONk5R6kK2I/WLTP62EPhbI/AAAAAAAAAQU/apBYnTJWFYsodhtDuVLUmfsnr63CCpOXgCLcB/s400/2017-Barba-Tehran.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Persian Passion: Eugenio Barba and company attend a<br />performance of a "tazieh" play. Photo: </i>Tehran Times</td></tr>
</tbody></table>
<span style="font-size: large;"><b><br /></b></span><div>
<span style="font-size: large;"><b>This news came</b> 12 days after Barba and other guests were photographed at Tehran's City Theater Complex while watching a performance of a "tazieh" play, which <i><a href="http://www.tehrantimes.com/news/410942/Italian-director-Eugenio-Barba-thrilled-by-Iranian-passion-play">Tehran Times</a></i> describes as an "Iranian passion play." Theater critic Alisa Solomon called attention to the immigration problem in a Facebook posting today. American theater artists are protesting the U.S. government action via social media outlets. ATCA International is monitoring the story.</span></div>
ATCA International Committeehttp://www.blogger.com/profile/03949189046929847056noreply@blogger.com0tag:blogger.com,1999:blog-5695277991452689596.post-63072527709313815942017-02-26T02:08:00.000-05:002017-02-26T02:40:52.156-05:00REPORT: Marie J. Kilker in Belgrade<div class="MsoNormal">
<span style="font-size: large;"><b style="font-family: times;">When Jeffrey Eric Jenkins</b><span style="font-family: "times";">, vice president of the International Association of Theatre Critics and chair of <a href="http://americantheatrecritics.org/atca-iatc/">ATCA’s International Committee,</a> posted on <a href="https://www.facebook.com/photo.php?fbid=10209229138317852&set=rpd.1603087831&type=3&theater">Facebook</a> a picture of me at <a href="http://aict-iatc.org/en/">AICT-IATC</a>’s </span><b style="font-family: times;">2016 World Congress</b><span style="font-family: "times";">, I relived an experience I feel I should share with my ATCA colleagues. It was my honor to be shown in the distinguished company of critic </span><b style="font-family: times;">Ivan Medenica</b><span style="font-family: "times";">, artistic director of </span><b style="font-family: times;"><a href="https://translate.google.com/translate?hl=en&sl=sr&u=http://www.bitef.rs/&prev=search">BITEF (Belgrade International Theatre Festival)</a></b><span style="font-family: "times";">, who had joined Jeffrey, </span><b style="font-family: times;">Michael Howley</b><span style="font-family: "times";">, and me. BITEF, that very important European presentation and celebration of the performing arts, ran concurrently with IATC’s biennial congress.</span></span><br />
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<tr><td class="tr-caption" style="font-size: 12.8px; text-align: center;"><i>Delegate's Delight: Michael Howley, Noura<br />Erica Jenkins, Ivan Medenica, Jeffrey Eric<br />Jenkins and Marie J. Kilker at the 2016 World<br />Congress in Belgrade. Photo: Katayoun H. Salmasi</i></td></tr>
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<span style="font-size: large;"><b>Medenica noted</b> <b>the</b> outstanding contributions of Jenkins, as the American was once again elected—by sizable numbers—to IATC’s executive committee. Ivan repeated his congratulations in the pictured conversation and warmly included in further conversation both my fellow ATCA delegate Michael Howley and me. We were so proud to realize the important contributions we made as critics and contributors to global theater as well as the reputation of American theater. Jeffrey had scored a big hit with <a href="http://www.critical-stages.org/14/old-is-new-new-is-old-hamilton-in-the-age-of-trump/">his paper on the musical </a><i style="mso-bidi-font-style: normal;"><b><a href="http://www.critical-stages.org/14/old-is-new-new-is-old-hamilton-in-the-age-of-trump/">Hamilton</a></b></i> in a final conference panel.<o:p></o:p></span></div>
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<span style="font-size: large;"><b>It so happened</b> that “unofficial” interaction proved to me valuable not only professionally but personally throughout my days in Belgrade. Ironically, though I had cited Michael’s many accomplishments when I nominated him years before to ATCA’s executive committee, I hadn’t learned details about his Cambridge, England, theater and educational experiences until we conversed at a lunch first and later over a drink after a matinee. Michael at the conference made many friends for the American section and, I’m sure, more on his extended stay in Belgrade. (Those of you who know of my passion for theater in Paris will not be surprised to learn I stopped off for four days en route home to see four art shows—comped with my IATC membership card—at matinees and four theater pieces each evening in France. These included a <a href="http://www.petitpalais.paris.fr/en/expositions/oscar-wilde"><b>Petit Palais</b> exhibition on <b>Oscar Wilde</b></a> and a monodrama acted by <b>Oscar</b>/<b>Les Clack </b>for <b>Dear Conjunction Theatre Company</b> at the <b>Théâtre de Nesle</b>.)<o:p></o:p></span></div>
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<span style="font-size: large;"><b>“Newness and Global Theatre:</b> Between Commodification and Artistic Necessity” was the theme of our International Conference with two full days of panels, papers, discussions involving critics from all over the world. I thought that these illustrated “Newness” more cogently than did the BITEF offerings I saw. At my age, I’ve been around long enough to have seen so many performances in so many countries and the United States that it’s hard to amaze me with anything astonishingly new. The nearest might be combinations, especially if executed in unusual ways, but these presume knowledge of what went before differently.<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="font-size: 12.8px; text-align: center;"><i>Not So Free?: Maja Pelević and Olga Dimitrijević in</i> Freedom:<br />
The Most Expensive Capitalist Word <i>at 2016 BITEF.<br />Photo: Sonja Zugic</i></td></tr>
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<span style="font-size: large;"><b>Most of what</b> I saw in Belgrade that claimed itself as “new” consisted essentially of monologues. They were, though, “set” in or backgrounded by projections or dance or film and often prominently featured music. <i style="mso-bidi-font-style: normal;"><b>Freedom: The Most Expensive Capitalist Word</b></i>—featured two alternating monologues with untheatrical breaks for “interactive theater”—in this case, engaging the audience to buy things or donate for a cause described in a background film. <i style="mso-bidi-font-style: normal;"><b>The History of the Machine Gun</b></i> combined an opening biographical monologue followed at length on the other side of the stage by an extended lecture about horrific experiences the speaker had in the first person’s African homeland, among other such besieged places. Its “new” feature consisted of the speaker coming downstage center and urinating. <o:p></o:p></span></div>
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<tr><td class="tr-caption" style="font-size: 12.8px; text-align: center;"><i>Hanging Around: Elfriede Jelinek's </i>Nora!<i> at the</i><br />
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<span style="font-size: large;"><b>In a showcase </b>of specifically Belgrade theater outside the main BITEF program, <b><i>Nora!</i></b> by <b>Elfriede Jelinek</b> at Yugoslav National Theatre and <i style="mso-bidi-font-style: normal;"><b>The Wizard of Oz</b></i> by <b></b>at the National Youth Theatre were the ones I reviewed. Though the showcase did not represent the BITEF and conference theme, <i style="mso-bidi-font-style: normal;">The Wizard</i> <i style="mso-bidi-font-style: normal;">of Oz</i> was a newly written version of the well known show and movie that “gradually moved away from the original precisely so as to remain to it as close as possible.” <i style="mso-bidi-font-style: normal;">Nora!</i> was not, like <b>Ingmar Bergman</b>’s, a new version of Ibsen’s play but a continuation of the story of its heroine after she left her husband. It was impressively configured in a Brechtian literary mode, though much more complicated than the kind of epic theater <b>Erwin Piscator</b> would have advised. I reviewed these and the other productions I saw for <a href="http://totaltheater.com/">TotalTheater.com</a>, where reviews and pictures are archived.</span><i style="mso-bidi-font-style: normal;"><o:p></o:p></i></div>
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<tr><td class="tr-caption" style="font-size: 12.8px; text-align: center;"><i>Thalia Laureate: Author and critic Femi<br />Osofisan of Nigeria</i></td></tr>
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<span style="font-size: large;"><b>What I remember</b> most are the things that do not appear in my reviews—my personal experiences. They started at a first breakfast when I was seated with <b>Femi Osofisan</b> from Nigeria. My studies didn’t go past Yoruba, so being able to get a few insights from Professor Osofisan was very precious. Later, he was honored with the prestigious<b> <a href="http://aict-iatc.org/en/awards/thalia-prize-awarded-to-femi-osofisan/">Thalia Prize</a>,</b> which celebrates the honoree’s impact on critical thought. A reception with the ceremony was held at the estate of the German Ambassador. As a traveler, I usually head first in new places for cultural sites, predominantly of visual arts and theatre. That afternoon we critics were treated to the opening of an African arts museum on the ambassador’s estate. Had I not been a conference delegate but just a tourist, I would not have had the opportunity to peruse that collection.<o:p></o:p></span></div>
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<span style="font-size: large;"><b>From new critic</b> friends from Turkey I received many samples of great Turkish confectionery, including two that I hadn’t eaten on two trips to Turkey. I also enjoyed a number of conversations with Greek critics. One from Athens who mostly reviewed opera shared his opinions that have since influenced my outlook. I also amazed him with information about <b>Sarasota Opera</b>’s having finished the complete Verdi cycle, for he had not heard about it! He does follow opera in a number of countries, and now he may include Florida in future reviewing. I’m arranging for him to get press information from our opera by mail. I’ll also be getting some posts from him and critics from other countries who whetted my interest in the fare there.<o:p></o:p></span></div>
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<span style="font-size: large;"><b>Of the papers </b>delivered, I was able to get “backstage notes” from several of the presenters. The one I first followed up on when I got home involved an exploration in connection with new North African plays. I had asked about <b>Mohammed Dib </b>and <b>Mouloud Feraoun</b>’s work and found out how theirs was a transition to, not a part of, the new. I also gained added insights on deconstruction, on theater as a cybernetic machine, and what’s being done in Brazil and my favorite Argentina. Back home, I had almost immediate opportunity to apply the first of these insights reviewing a Gilbert and Sullivan musical in St. Petersburg.<o:p></o:p></span></div>
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<span style="font-size: large;"><b>As I accompanied</b> an Indian critic to the theater one night, I learned enough to make me want to return to her country. Although I myself am not as physically agile as many of the people I met in Belgrade, there were so many kindnesses from them that I missed very little of the off-conference experiences. I wouldn’t have made it to one theater without help from <b>Katayoun H. </b><b>Salmasi</b>, Jeffrey’s wife (and a presenter from Iran/USA), who walked me through “a short passage” that was at least a mile. (On the way, I did get to see some important sights at night.) Helpers brought me selections of drinks and pastry during coffee breaks to which I otherwise would have had to walk down several flights of stairs from our meeting room.</span></div>
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<span style="font-size: large;"><b>A waiter in our hotel</b> dining room always rushed to help me with a breakfast or dinner tray. Later he told me he admired my fending for myself in getting food from the buffet and how I always seemed so cheerful. How nice! And who wouldn’t feel cheer at all that was gained by this delegate to the IATC International Conference and BITEF? Thanks to IATC and ATCA from the smiling woman critic in good company in that picture!<o:p></o:p></span></div>
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ATCA International Committeehttp://www.blogger.com/profile/03949189046929847056noreply@blogger.com0tag:blogger.com,1999:blog-5695277991452689596.post-43148157105984365632015-07-24T16:25:00.000-04:002015-07-24T16:25:24.077-04:00MEMORIAM: Tamás Koltai Passes<!--[if gte mso 9]><xml>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-eM46zXO5soQ/VbKd_vCMl_I/AAAAAAAAAPA/tDz7GbcGVNg/s1600/koltai.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="http://3.bp.blogspot.com/-eM46zXO5soQ/VbKd_vCMl_I/AAAAAAAAAPA/tDz7GbcGVNg/s200/koltai.jpg" width="142" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="text-align: start;"><i><span style="font-size: x-small;">Tamás Koltai</span></i></span></td></tr>
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<span style="font-size: large;"><b>The Hungarian
Theatre Critics' Association</b> reports that the widely respected Hungarian critic, <b>Tamás Koltai</b>, died suddenly July 19, at the age of 73.
Koltai had a 50-year career as a critic, serving as editor-in-chief of the theatre magazine <i><b>Színház</b></i> and as a
columnist at <i><b>Élet és irodalom</b></i>. He published more than two dozen books of
criticism and was the former head of Hungarian association. His colleagues in hungary tell us that his "unique ethos and
passion for theatre" made him "one of the greatest critics of Hungarian theatre." The American section sends its condolences to his family, friends, and colleagues. </span><o:p></o:p></div>
ATCA International Committeehttp://www.blogger.com/profile/03949189046929847056noreply@blogger.com0tag:blogger.com,1999:blog-5695277991452689596.post-78328742327063247552015-06-26T18:55:00.000-04:002015-06-26T18:55:58.016-04:00REPORTS: An American in Sweden<div class="separator" style="clear: both; text-align: center;">
</div>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-ic1CYz0a4Tw/VY3Jk7hskpI/AAAAAAAAAOQ/mPlllJbrzVM/s1600/jaysigsmall2011.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-ic1CYz0a4Tw/VY3Jk7hskpI/AAAAAAAAAOQ/mPlllJbrzVM/s1600/jaysigsmall2011.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Jay Handelman</i></td></tr>
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<span style="font-family: 'Times New Roman'; font-size: 18pt;"><b>THE INTERNATIONAL COMMITTEE</b> of the <b><a href="http://americantheatrecritics.org/">American Theatre Critics Association</a></b> was
represented at the recent executive committee meeting of <a href="http://www.aict-iatc.org/"><b>AICT-IATC</b></a> last month
by <a href="http://americantheatrecritics.org/foundation-atca/"><b>Foundation ATCA</b></a> president <b><a href="http://www.heraldtribune.com/personalia/118600">Jay Handelman</a></b>. Held this time in Malmö, Sweden, on the
occasion of the biennial festival of the arts, executive committee meetings
allow for lively exchanges of ideas related to the business of managing our
various associations. When the delegates are not in meetings, they have the
opportunity to sample local theatrical offerings and report back to our
membership in the United States. As someone with numerous experiences in our
international meetings, Handelman served as delegate for <b><a href="https://theatre.illinois.edu/people/faculty-biographies/259-jenkins-jeffrey-eric">Jeffrey Eric Jenkins</a></b>,
chair of the International Committee and vice president of the International
Association of Theatre Critics.<span class="apple-converted-space"> </span><a href="http://www.ticketsarasota.com/2015/06/20/behind-the-scenes-a-different-world-unfolds-at-swedish-performing-arts-festival/">The
critic for the Sarasota <i>Herald-Tribune</i>, Handelman also reported on his
theatergoing experience for his readers in Florida.</a><o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-zHfiWYBPduw/VY3JsAnigrI/AAAAAAAAAOk/-BAwAO4N09Q/s1600/1355526724.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-zHfiWYBPduw/VY3JsAnigrI/AAAAAAAAAOk/-BAwAO4N09Q/s1600/1355526724.png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Margareta Sörenson</i></td></tr>
</tbody></table>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="color: black; font-family: "Times New Roman"; font-size: 18.0pt;"><b>The Malmö meeting</b>, chaired by
AICT-IATC president <b><a href="http://aerowaves.org/springback/people/margareta-soerenson">Margareta<span class="apple-converted-space"> </span></a><a href="http://aerowaves.org/springback/people/margareta-soerenson">Sörensen</a></b><span class="apple-converted-space"> </span>of Sweden, was devoted largely to
discussions about future opportunities for international seminars for young critics and for established critics, the planned <b>2016 World Congress</b>, and
developments aimed at helping the AICT-IATC webjournal,<span class="apple-converted-space"> </span><a href="http://www.criticalstages.org/"><b><i>Critical Stages</i></b></a>, to sustain the
growth it has experienced since its inception. Now overseen by its </span><span style="font-family: 'Times New Roman'; font-size: 24px;">third editor,</span><span class="apple-converted-space" style="font-family: 'Times New Roman'; font-size: 18pt;"> </span><a href="http://www.enl.auth.gr/instructor_en.asp?Id=8" style="font-family: 'Times New Roman'; font-size: 18pt;"><b>Savas Patsalidis</b></a><span class="apple-converted-space" style="font-family: 'Times New Roman'; font-size: 18pt;"> </span><span style="font-family: 'Times New Roman'; font-size: 18pt;">of Greece, <i>Critical Stages</i> has embarked on a project of outreach and development
aimed at larger readership and greater impact in cultural discourse.</span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="font-family: 'Times New Roman'; font-size: 18pt;"><br /></span></div>
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<span style="color: black; font-family: "Times New Roman"; font-size: 18.0pt;">[The minutes of the executive
committee meeting are available in English<span class="apple-converted-space"> </span><a href="http://www.aict-iatc.org/documents/comex/ExcomMinutesMalmo.pdf">here</a>,
and in French<span class="apple-converted-space"> </span><a href="http://www.aict-iatc.org/documents/comex/PVcomexMalmo.pdf">here</a>.]<o:p></o:p></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-ZvECbIvTjSE/VY3JbVlxdjI/AAAAAAAAAOE/sycrvIVMl3o/s1600/Jean-Pierre_Han-2011%2BSmall.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="http://2.bp.blogspot.com/-ZvECbIvTjSE/VY3JbVlxdjI/AAAAAAAAAOE/sycrvIVMl3o/s200/Jean-Pierre_Han-2011%2BSmall.jpg" width="158" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Jean-Pierre Han</i></td></tr>
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<span style="color: black; font-family: "Times New Roman"; font-size: 18.0pt;"><a href="http://www.revue-frictions.net/doku.php/jphan"><b>Jean-Pierre Han</b></a>, the
director of seminars who represents France and serves as one of three vice
presidents of AICT-IATC, reported that there have been numerous challenges in
getting seminars to fruition--there were more than a half dozen proposed in
Beijing--due to shifting budget priorities in potential host countries and the
cost of travel for potential attendees. There are positive signs that a Young
Critics' Seminar will be arranged in Bangkok, Thailand, at the end of October
2015, but there are no additional details. A call was sent by ATCA chairman<span class="apple-converted-space"> </span><a href="http://www.floridatheateronstage.com/who-we-are/"><b>Bill Hirschman</b></a><span class="apple-converted-space"> </span>to all American Theatre Critics
Association members about an Established Critics event in Novi Sad, Serbia, set
for September 2015. The application deadline was June 20. There is also a
possibility of an Established Critics' Seminar in Buenos Aires, Argentina, late
in 2015, though there is no further information as of this date.<o:p></o:p></span></div>
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<span style="color: black; font-family: "Times New Roman"; font-size: 18.0pt;"><br /></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-bWJQAZqE0Oo/VY3JofzVelI/AAAAAAAAAOc/tTwVTHGAZ6U/s1600/-%2BKULT%2B-%2Bivan%2Bmedenica.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="http://4.bp.blogspot.com/-bWJQAZqE0Oo/VY3JofzVelI/AAAAAAAAAOc/tTwVTHGAZ6U/s200/-%2BKULT%2B-%2Bivan%2Bmedenica.jpg" width="133" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Ivan Medenica</i></td></tr>
</tbody></table>
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<span style="font-family: 'Times New Roman'; font-size: 24px;"><b>In Beijing last</b> fall, </span><span style="color: black; font-family: "Times New Roman"; font-size: 18.0pt;">Serbia proposed hosting the 2016
World Congress and leaders continue to discuss the possibility of making it work. According to<span class="apple-converted-space"> </span><a href="http://www.geisteswissenschaften.fu-berlin.de/en/v/interweaving-performance-cultures/fellows/fellows_2012_2013/ivan_medenica/index.html"><b>Ivan
Medenica</b></a>, the representative from Serbia, the country's current financial
outlook and upcoming elections may lead AICT-IATC to seek a different arrangement for 2016. Other possibilities are under consideration, including an alternative
format for hosting a congress, which is currently under consideration by the
leadership of the AICT-IATC executive committee.<o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="color: black; font-family: "Times New Roman"; font-size: 18.0pt;"><br /></span></div>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-vKyKdDHDIN0/VY3Jgxd8YrI/AAAAAAAAAOM/nN2doMJwEfU/s1600/patsalidis.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-vKyKdDHDIN0/VY3Jgxd8YrI/AAAAAAAAAOM/nN2doMJwEfU/s1600/patsalidis.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Savas Patsalidis</i></td></tr>
</tbody></table>
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<span style="color: black; font-family: "Times New Roman"; font-size: 18.0pt;"><b>The vision for </b><i>Critical Stages</i>
continues to evolve under the leadership of editor Patsalidis, managing editor
<b>Don Rubin</b>, and executive editor Jenkins. With overhead amounting to the
equivalent of $10,000 USD, the publication now seeks donations and advertising
from individuals and groups.<span class="apple-converted-space"> </span><a href="http://theatre.illinois.edu/"><b>Illinois Theatre</b></a><span class="apple-converted-space"> </span>has committed to advertising its
programs of study on the site through 2016. An ongoing challenge to the journal
are the archives of the first ten volumes, which have been rendered
inaccessible due to changes in technology and technical personnel. Patsalidis
offers a strong vision for the publication's continued improvement, which will ultimately reflect well on the organization.<o:p></o:p></span></div>
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<!--StartFragment-->
<span style="font-family: 'Times New Roman'; font-size: 18pt;"><b>Finally, the
organization</b> has created a logo contest that seeks submissions for a visual
representation of the association that takes into account the contemporary
dimensions of "live performance" as AICT-IATC engages with them.
Submissions should be forwarded to<span class="apple-converted-space"> </span><a href="mailto:michelninovais@gmail.com"><b>Michel Vaïs</b></a>, the secretary general of the association, by September 21, 2015.</span><!--EndFragment-->
</div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<!--EndFragment-->ATCA International Committeehttp://www.blogger.com/profile/03949189046929847056noreply@blogger.com0