engleski

Theatre Criticsm Today. Pula 1998, Pula 1999, Zagreb 2000.

A book contains selection of papers from three years of International Theatre Forum in Croatia (Pula 1998, 1999, Zagreb 2000) that was organized on the topic of theatre criticism today. Published are programs of three Forum and 18 papers that are covering different topics from information about theater criticism in one country till very theoretical articles on the topic: Marvin Carlson (Thoughts on the Role of the Daily Critic), Alexis Green (From Print to Internet – Theater Criticism and the Media in New York City) and William Davies King (Darkness in the ’ Bright, Guilty Place’ : Critical Perspectives on California) from USA ; Manfred Pfister (How Much Theory Do We Need in Daily Theatre Criticism?) and Rudiger Schaffer (Defining the New Berlin and German Theatre) from Germany ; David Adams (Theatre, Cultural Identity and the Critics in the New Wales), Ian Herbert (Theatre Criticism for the New Millennium) and Daniel Meyer-Dinkgrafe (Praise and Censure in Theatre Criticism) from Great Brittan ; Michael Anthony Ingham (Linguistics and Communication Theory for the Drama Critic: Academic Luxuryor Fundamental Critical Tool?) and Jessica Yeung (Theatre Criticism in the New Century) from Hong Kong ; Heino Byrgesen (The Role of the Critic – the Role of the Critique) from Denmark ; András Nagy (Criticism And Politics) from Hungary ; Malgorzata Semil (New Millennium, New Theatre, New Theatre Criticism?) from Poland ; Maria Helena Serôdio (Words Framing Images: Variations on Theatre Criticism) from Portugal and Boris Senker (How Should One Bring Up a Theatre Critic?), Sibila Petlevski (A Moving Target: Theatre Criticism and Its Audience), Dubravka Vrgoč (Deadly Criticism) and Sanja Nikčević (Croatia The Difference between American and European Theatre Criticism) from Croatia.

kazališna kritika; teorija

nije evidentirano