Concrete Psychology of the Actor’s dvoistvennost’: Emotions and Art as Vygotsky’s means for rethinking Methods of Psychology by Willi Reinecke

“…Abstract Vygotsky’s article about the psychology of the actor is a good example of continuities and connections between the early and late work of this psychologist and theater critic. Contrary to a divide between an “instrumental”, “mechanistic” and “reductionist” phase before 1930 and later a “holistic” phase (Yasnitsky, van der Veer, 2016, p. 92), the discourse about the actor and Diderot’s notion of “artificial feelings” (sensibilité artificielle) proves Vygotsky’s ongoing commitment regarding questions of experience (perezhivanie), catharsis and the status of emotions. …”
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Translation, Critical, and Creative Reception of Shakespeare in Legacy of Sigizmund Krzhizhanovsky by V. V. Serdechnaya, D. N. Zhatkin

“…The novelty of the research lies in the comprehensive understanding of Shakespeare’s place in Krzhizhanovsky’s creative activity, including as a translator and theater critic. The list of Krzhizhanovsky’s Shakespearean works and speeches is clarified. …”
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Canto a Bologna. Una commedia inedita di Gherardo Gherardi / Canto a Bologna. A Gherardo Gherardi's unplublished comedy by Agnese Marasca

“…Gherardo Gherardi (1891-1949), dramatist, theater critic, screenwriter, although little known, also in specialized environment, played a central role in the scene of the show and, generally, in that of the early twentieth century's culture. …”
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Ritual and drama by Khalifah Alhajri

“…Focusing on contemporary non-religious tendencies in European and American theaters, the researcher comes to the thought of the German theater critic Ericks Fischer-Licht, who views non-rationality in the context of contemporary performative culture. …”
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Performing the Theatricality in the Game of Framings: rethinking the weaving of the dramatic by Rejane Arruda (Universidade Vila Velha ‒ UVV, Vila Velha/ES, Brazil)

“…Displaced from the field of theater criticism to the performance, theatricality and performativity appear as operational notions of an analysis of the actorly praxis, providing the basis for a review of theory and the place of the dramatics as an alleged practice of signification, allowing its presentation as a framing mode among others. …”
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Performing the Theatricality in the Game of Framings: rethinking the weaving of the dramatic by Rejane Arruda

“…Displaced from the field of theater criticism to the performance, theatricality and performativity appear as operational notions of an analysis of the actorly praxis, providing the basis for a review of theory and the place of the dramatics as an alleged practice of signification, allowing its presentation as a framing mode among others.…”
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Beginning of theatre life in Kosovo and Metohia by Andrejević Danica T., Andrejević Ana M.

“…More importantly, this theatre was the main cultural and artistic centre of Kosovo and Metohia and it inspired development of local theater criticism and initiated intellectual curiosity about the theatre in this part of Serbia.…”
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Chekhov’s The Cherry Orchard in Bangladesh: by Nadia Rahman, Tahmina Zaman

“…While doing this, we used reception theory and Gramsci’s theater criticism. …”
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La critique théâtrale comme espace public. Le cas de nachtkritik.de by Corentin Jan

“…Nachtkritik.de allows to question the role of theater criticism, which is not limited to the evaluation of individual performances, but also contributes to a “theatrical public sphere”, where the present state of theater and its future are collectively discussed. …”
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Apollon Grigoriev’s Translations from Shakespeare: Creative Laboratory, Censorship History, Critical Assessments by Andrei P. Dmitriev

“…The review article summarizes the available and for the first time introduced into scientific circulation information about the creative history of translations of Shakespeare’s dramas by Apollon Grigoriev: “Lear,” “A Midsummer Night’s Dream,” “Shylock, the Venetian Jew” and “Romeo and Juliet,” about their passage through censorship, stage fate and responses to them from literary and theater critics. The text of the youthful translation of “King Lear” has come down to us only in a number of quotations from the censor’s report, which are published for the first time as part of an article. …”
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The First Production of The Brothers Karamazov on the Russian stage in the Mirror of the Press (Based on the Collections of the Vladimir Dahl State Museum of the History of Russian... by Pavel E. Fokin, Ilya O. Boretsky

“…The play, the staging, the actors’ interpretation of their roles became the subject of detailed reviews of the St. Petersburg theater critics and provoked controversial assessments and again raised the question about the peculiarities of Dostoevsky’s prose and the possibility of its presentation on stage. …”
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About the new methods of thinking and composing literary history by Aliona GRATI, Ion SIMUȚ

“…In a totalizing history of Romanian literature, the literature of Bessarabia after 1945 must have separate chapters for poetry, prose, theater, criticism, because it had a different evolution, audience, alphabet, censorship, references and even other aspirations. …”
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Tennessee Williams in Soviet Criticism of the 1940–1960s by Maksim M. Gudkov

“…The article attempts to present the reception of the plays by Tennessee Williams in Soviet criticism of the 1940s and 1960s to show the dynamics of changing opinions and assessments by Soviet literary and theater critics. In the late Stalinist years Soviet researchers (Michael Morozov, Veniamin Golant, Anna Elistratova, Vadim Gaevsky) were least engaged in the literary analysis of his plays, which they considered exclusively through the lens of ideology and politics. …”
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“New drama”: Pro et contra by Zhurcheva , Olga V.

“…The scientifi c and methodological publication under review is expected to be in high demand not only in the philological environment, but also among theater critics and theater historians.…”
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Colorful Emotions on Stage «Gray Theater» by Sofia Trykolenko

“…The relatively new theater, founded in 2013, does not have many reviews, comments and professional art critics’ recommendations and theater critics. His productions are in sharp contrasts with traditional ideas about the filming of theatrical scenes, while they show a peculiar, author's vision and directorial, and scenography decision. …”
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THE RESOLUTION OF THE IRRESOLVABLE: THE ART AND PHILOSOPHY OF THE «ETERNAL» CONTRADICTIONS by Galina Ya. Verbitskaya, Sergei N. Semenov

“…The article can be interesting and useful to teachers of creative and humanitarian universities, as well as directors, playwrights and theater critics.…”
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Hacia la construcción del gracioso: Carnaval y metateatralidad en los pastores de Bartolomé Torres Naharro by Julio Vélez-Sainz

“…Sostenemos que la autorreferencialidad del gracioso que tanto ha destacado la crítica es, en realidad, un rasgo heredado de sus antepasados teatrales: los pastores del pacense Bartolomé de Torres Naharro.Summary: Theater critics have insisted upon the metaliterary function of the gracioso stock-character in the Spanish Golden Age. …”
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Experiments with realism in contemporary feminist theatre in Britain by Greenstreet, HC