Theatre Criticism: Changing Landscapes
- Submitting institution
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The Royal Central School of Speech and Drama
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- DRAD1
- Type
- B - Edited book
- DOI
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10.5040/9781472577122.ch-001
- Publisher
- Bloomsbury Publishing Plc Imprint previously known as Methuen Drama
- ISBN
- 9781472577122
- Open access status
- -
- Month of publication
- -
- Year of publication
- 2016
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- ‘Theatre Criticism: Changing Landscapes’ is a peer-reviewed 90,000-word collection of 20 individually commissioned chapters from an international selection of academics, historians, bloggers and practicing arts journalists, designed to identify and articulate intersecting insights about the significance of the digital domain in the evolution of theatre criticism in the 21st century.
The editor Duška Radosavljević worked to identify key trends and map new landscapes at a critical moment in the history of theatre criticism when paid newspaper critics began losing their long-held positions, and sometimes even their credibility as a result of a lack of significant positive engagement with innovative trends and experimental work. Meanwhile, younger generations of writers were seen to be developing new, potent, inclusive and rigorous forms of web-based and often unremunerated arts journalism internationally (Howlround, Exeunt, A Younger Theatre, Nachtkritik.com).
Radosavljević’s curatorial methodology primarily deployed the generative potential of diversity by bringing together an international group of stakeholders, sourced through a combination of an open call to the International Association of Theatre Critics and individual commissioning of writers and academics — to set the new research agenda through a variety of cultural, generational and professional practice perspectives.
Radosavljević introduced and framed the volume with a 10,000-word essay that uses interdisciplinary research drawn from history, aesthetics, journalism, technology and political philosophy to argue in favour of the emancipatory influence of the internet on the proliferation of theatre criticism practices at a particular moment in the early 21st century. In order to provide a number of distinct entry points for different demographics of users, the editor organised this multi-faceted volume of research into four sections: Contexts and Histories of Theatre Criticism, Critics’ Voices, Changing Forms and Functions of Theatre Criticism, and Samples of Critical Practice.
- Author contribution statement
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- Non-English
- No
- English abstract
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