Theatre Criticism in the Phase of Reconstruction
Not so long ago, the word ‘critic’ sounded proudly in Poland. Today, many people who due to their occupation have the right to use this term, try to use completely different expressions. Alternative expressions are not only effective terms whose function is to distinguish the author from a multitude of other authors, but they reflect the changing way of writing about the theatre. In my article I analyze four expressions, each of which is associated with another aspect of theatre criticism, as diversity and farreaching specialization in writing techniques and views of the persons writing about the theatre, is the answer to the changing needs of both the readers and the publishers. The term „theatre reporter” tends to focus on issues associated with the deepening rift between criticism as it is practiced by daily papers and by specialist press; the term „theatre columnist” is associated with the issue of politicizing views concerning art; the term „theatre essayist” is associated with the issue of the autonomy of criticism understood as a literary genre; whereas the term „theatre author” deals with the phenomenon of people writing about the theatre who at the same time are associated professionally with the stage and who are involved in theatre practice in various ways.

Not so long ago, the word ‘critic’ sounded proudly in Poland. Today, many people who due to their occupation have the right to use this term, try to use completely different expressions. Alternative expressions are not only effective terms whose function is to distinguish the author from a multitude of other authors, but they reflect the changing way of writing about the theatre. In my article I analyze four expressions, each of which is associated with another aspect of theatre criticism, as diversity and farreaching specialization in writing techniques and views of the persons writing about the theatre, is the answer to the changing needs of both the readers and the publishers. The term „theatre reporter” tends to focus on issues associated with the deepening rift between criticism as it is practiced by daily papers and by specialist press; the term „theatre columnist” is associated with the issue of politicizing views concerning art; the term „theatre essayist” is associated with the issue of the autonomy of criticism understood as a literary genre; whereas the term „theatre author” deals with the phenomenon of people writing about the theatre who at the same time are associated professionally with the stage and who are involved in theatre practice in various ways.