CRITICAL STAGES/SCENES CRITIQUES, Issue #19, the journal of our Association is now online.

VISIT: http://www.critical-stages.org/19/

A basic principle of the journal’s editorial policy is to bring to people’s attention genres, subgenres, issues and topics that we consider important in relation to the future development and enrichment of the field; and puppetry is a case in point. The two guest editors of the special topic, Margareta Sörenson and Jean-Pierre Han, have selected papers that cover contemporary puppetry practice and theory from a range of different (and fresh) perspectives. MARGARETA and JEAN-PIERRE thank you for all the good work you have done and the endless hours you spent to bring this substantial volume to life.

In addition to the special topic the current issue carries an in-depth response to the collection of articles on the Shakespeare Authorship Question that appeared in the last issue of this journal (Critical Stages/Scènes critiques, no. 18). Thank you DON for suggesting the topic and taking the time to edit it.
In that very same Essay Section,there are three more interlinked essays by Michel Vaïs, Nele Wynants and Maaike Bleeker et al, which open windows onto the intricate paths of performance practice and study.

In the National Section we have a survey of the contemporary theatre life of all three Baltic countries (Latvia, Estonia and Lithuania), plus, among other articles, short surveys of contemporary theatre life in Azerbaijan, Kazakhstan and Lebanon. As we always stress, it is our aim to provide a platform for theatre cultures that are not necessarily well presented in international theatre studies. We pursue that goal in every issue because we consider it important.

To sum up: we have in #19 of our journal 38 articles altogether from 25 countries (including South Africa, Nigeria, Egypt, Lebanon, Japan and Hungary, among others), plus two special pages which are constantly updated.

Our NEXT ISSUE, scheduled for publication in December 2019, will focus on a major problem many countries face nowadays; namely the issue of an aging population and its impact upon theatre. Yun Cheol Kim, former president of IATC, will be the guest editor, with the assistance of Manabu Noda from Japan.

For 2020 we have already circulated the two special topics which will keep us busy in the months to come: the first (due in June 2020) will focus on the “Theatricality of music, and the musicality of theatre.” It invites papers that examine the relationship between these two complex universes in the twenty-first century, a century of unprecedented changes. How is this relationship affected by the new technology and the new media? To what extent is it influenced by the current social, economic and political developments of the world? Guest editor: Octavian Saiu

The second special topic is on “Arab Theatre and Performance.” The purpose of this special topic is to “reorient” Arab theatre and performance in light of the radical transformations shaping the Middle East and North Africa both aesthetically and politically. We look forward to it. Guest editor: Youssef Yacoubi.
That said, I would like to thank, once again, the team of the journal that works so hard to make it happen. Don, Jeffrey, Yun Cheol, Matti, Katerina, Tasos, Ian, Michel. Thank you all!!
My thanks go to ILLINOIS UNIVERSITY (Theatre Dept) for its continuous financial support (Jeffrey: we all owe you our gratitude) and to the Dance School of JIN XING (thanks to Peng Tao’s efforts).
Last but not least I would like to thank all these authors who choose our journal to publish their work. This is a sign of trust and we are doing our best not to fail them.

Dear friends, colleagues and readers: YOUR HELP IS VERY MUCH NEEDED.  It takes team work to make things happen.
Help disseminate the issue. Let your friends and colleagues know. Post. repost. Circulate. The more visibility the journal gains the better. We count on your help.

I wish you all a beautiful summer with less unpredicatble weather phenomena
Savas Patsaldis
editor-in-chief

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