Koptā kritika sociālo tīklu laikmetā

Vēsma Lēvalde
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Abstract

The article analyses the situation of professional theatre criticism in the contemporary theatre environment and the reflection of current stage processes in performance reviews. The aim of the study is to identify changes in the purposes, form and content of professional theatre criticism at a time when social networks have become popular and are used both as a platform for discussion and as a platform for self-expression. In order to distinguish between reviews of performances written by professionally trained experts and other written reviews, the author of the article uses the term “cultivated criticism”. The research sources are the Latvian professional media Teātra Vēstnesis and www.kroders.lv, as well as the social network Facebook. The media content is analysed using the insights of art criticism theorists from the beginning of the 20th century to the current day and comparing the common and different principles of reviewing in the pre-digital and digital age. The professional standards of the review authors are also addressed. The author of the article has chosen the principles of theatre criticism from the works of the American theatre director and critic Harold Clurman (1901–1980) and the Scottish theatre critic and cultural journalist Mark Fisher as a theoretical framework. The findings of these experts are related to the opinions of Latvian and Lithuanian practising theatre critics on the meaning of reviews. The content analysis of the reviews looks for intersections with the American art critic Ben Davis’s concept of post-descriptive criticism, which, according to Davis, changes the descriptive nature of traditional, ekphrastic criticism. The research confirms Davis’s thesis that the transformation of a visual image into a verbal image is changing along with the changes in the artistic and informational environment. Regardless of the form of the review, theatre criticism remains an essential tool for the study of theatrical processes. At the same time, it is concluded that media content analysis does not provide a clear answer to the question of how to make cultivated criticism seen by theatre practitioners as respectable feedback and suggestions for professional development. These findings suggest that the paper’s topic is open for further research and discussion.
社交网络时代的常见批评
文章分析了当代戏剧环境中专业戏剧评论的状况,以及演出评论对当前舞台进程的反映。研究的目的是在社交网络变得流行并被用作讨论平台和自我表达平台的时代,找出专业戏剧评论在目的、形式和内容上的变化。为了区分由受过专业培训的专家撰写的演出评论和其他书面评论,文章作者使用了 "培养的评论 "这一术语。研究来源是拉脱维亚专业媒体 Teātra Vēstnesis 和 www.kroders.lv 以及社交网络 Facebook。研究使用了 20 世纪初至今的艺术评论理论家的观点来分析媒体内容,并比较了前数字时代和数字时代评论的共同原则和不同原则。文章还探讨了评论作者的专业标准。文章作者从美国戏剧导演和评论家哈罗德-克鲁曼(Harold Clurman,1901-1980 年)以及苏格兰戏剧评论家和文化记者马克-费舍尔(Mark Fisher)的作品中选取了戏剧评论的原则作为理论框架。这些专家的研究结果与拉脱维亚和立陶宛从业剧评人对评论意义的看法相关。对评论的内容分析寻找与美国艺术评论家本-戴维斯(Ben Davis)的后描述性评论概念的交叉点,戴维斯认为,后描述性评论改变了传统的 "ekphrastic "评论的描述性质。研究证实了戴维斯的论点,即随着艺术和信息环境的变化,视觉形象向语言形象的转化也在发生变化。无论评论的形式如何,戏剧评论仍然是研究戏剧进程的重要工具。同时,对于如何让戏剧从业者将有修养的评论视为值得尊敬的反馈和专业发展建议这一问题,结论是媒体内容分析并没有提供明确的答案。这些结论表明,本文的主题有待进一步研究和讨论。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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