Kalina Stefanova, Ph.D.
I fully understand the vast majority of theatre-makers who want to free themselves from critical definitions. The most obvious reason they have is that definitions are generally constricting—they simply “feel tight”. What’s more, definitions can be like uniforms—and how could we expect that a great director, for instance, would settle for being simply, say, “a post-modernist”, when there are so many others labeled in the same way?! Then, definitions—especially when they consist of one or two words—tend to be quite flat, that is, strikingly incongruous with the three-dimensional nature of theatre.