58The third issue of ACT II is out in the beginning of the winter theatrical season. As we feel the need to restart more pressing than ever, we attempt a reflection on topics which are calling for renegotiation. Refusing a finite theatrical art, we take on the question of scenic and audio dramaturgy. We carry on and elaborate on the discussion around women artists and their place in contemporary theatre, whilst also tracing meeting points in the quest towards visibility. Finally, we tackle the question of criticism and our relationship to it, as it takes us out of our comfort zone, where we -unwillingly or not- often remain, even within such a radical predicament as the pandemic. At the same time, we open the ‘Epidaurus’ case. We reflect, we resignify, we wonder again with a fresh glance pointed mostly towards the within; towards the loins of our work, the workings of theatre. We sense the necessity to challenge ourselves by thinking differently, by creating new footprints on this untrodden path of the 21st century.
The third issue of ACT II is out after two months occupied with regrouping. We momentarily faced fatigue and saturation, especially after a summer theatrical season which engaged in an attempt to prove itself and shout out that artists are present, unimpaired. It took double the courage to nurture contemplation and alertness. The editorial board of ACT II is present and returns -or rather remains- active and concrete, consistent with its founding principles, just the way it was created one year ago. This might constitute an artistic event in itself; a not so given, yet polyphonic, and thus potentially radical, meeting point.