Abstract
Abstract: Historically, scholarship on theater criticism has examined the boundaries of the genre and the role of the critic, while more recent works explore the changes in critical practices. This essay, however, offers a new model for understanding theater criticism, redefining reviews as “critical paratexts” (Genette) that co-construct the “theater event” in the public sphere. Taking as its case study Can Dündar’s #WeAreArrested , this paper contextualizes reviews to reveal various heavily institutionalized “critic functions” (Foucault) available for British reviewers. Ultimately, it suggests a new framework for studying theater as a cultural and political construction with more dimensions than the production/performance alone.
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