Sanja Nikčević
Sanja Nikčević (born 1960) is a Croatian theatre critic and distinguished professor of theatre history in the drama department of the Arts Academy of Osijek, Croatia. She is also head of the drama module of the doctoral program in literature at the Faculty of Philosophy, University of Osijek (Osijek, Croatia). She is the president of the Croatian Critics' Association and Governing Board of Matica hrvatska. Nikčević lives in Zagreb, Croatia. Education and work. Nikčević was born in Varaždin. At the Faculty of Philosophy Zagreb she obtained a BA (French language and comparative literature, 1984), MA (1993) and Ph.D.  (1998) in American drama. She worked as a journalist and theatre critic for the Croatian daily newspaper "Večernji list" (1985–1993), was an advisor for theatre in the Croatian Ministry of Culture (1996–1997), and was a freelancer. Academic career. She was a Fulbright scholar twice (CUNY 1995, mentor M. Carlson UCSB 2002, mentor W. D. King) and lectured at the University of California, Santa Barbara, United States in 2001. Since 2003 she has been employed in the English department (Faculty of Philosophy, Osijek), teaching courses on American and British drama, where she still works in the Ph.D. literature program. Since 2007  she has been employed at the Arts Academy in Osijek (UAOS) where she teaches courses on the history of world drama and theatre. Activities in international and national associations. Nikčević was the founder and first president (1994–2000) of the Croatian Center of ITI-UNESCO where she organized numerous international events (seminars, drama colony, exchange writers and directors, presentation of theatre of other countries in Croatia and vice versa). Since 2004 she was secretary, since 2010 she was president of a national theatre critics' organization (HDKKT), and since 2014 she was a member of the main governing board of Matica hrvatska . She has served as an EXCOM board member for ITI Worldwide for two terms and is an active member of numerous international and American associations of scholars and critics (ASTR, ATHE, IFTR, AICT, and ATCA). Editorial activities. At the Croatian center of ITI Nikčević founded and edited the publication "Croatian drama" (the only publication on Croatian theatre in English) and "Mansions". She was the editor of "Mansions" until 2004 and published more than thirty books. From 1998–2002 she was the editor of the Croatian mainstream theatre journal "Theatre" ("Kazalište"). She founded Ars Academica (a series of textbooks for the Arts  Academy) where she was editor from 2009–2013. Publishing activities and field of interest. Her main topics of research are American drama, contemporary European drama, Croatian war drama and theatre criticism and history of theatre. She has participated in more than one hundred national, American, and international symposiums. She has published more than one hundred articles on European and American theatre in English which were published in America (SSEP, PAJ), Hong Kong, Japan, Poland, Bosnia, Hungary, Slovakia, Macedonia and Slovenia in academic or theatre journals and academic-edited volumes, and forwards of books. Nikčević publishes theatre reviews in the Croatian weekly  cultural newspaper (Vijenac, Hrvatsko slovo). She has published six books and edited six anthologies. American drama. In Croatia Nikčević has edited the "Anthology of American Plays" (1993) in two volumes and published three books on American drama: "The Subversive American Drama or Sympathy for Losers" (1994)"; Affirmative American Drama or Long Live the Puritans"(2003)and" Losers' Genius in Our Town"(Zagreb, 2006)". " In these books she introduced a new classification of American drama based on the attitude of plays toward the main American myth, the American dream. Plays depicting losers and failures of the American dream (from Eugene O’Neill, Arthur Miller, Tennessee  Williams, Edward Albee and David Mamet, for example) she calls subversive. Plays that show characters who can accept their position in life and make the most of it (mainly solving their problems and achieving the American dream) she designates as affirmative American plays (from Thornton Wilder through comedies and melodrama to Harling's "Steel Magnolias," Margaret Edson, etc.). European drama and new trends. Nikčević's book on imposing a trend of in-yer-face theatre all over Europe, "New European Drama or Great Deception", (Zagreb, 2005) was both attacked and praised simultaneously. It has been translated into Slovak (, Bratislava, 2007 ) and Bulgarian (, Ruse, 2009). Selected chapters were published in several languages – English ("New Theater Quarterly", August 2005), Polish (, Dialog 1/2005. str. 122-135.) and Hungarian ( u Szinhaz, Hungary, July 2005). The book has been used as a textbook in several universities and was reviewed around the world. It has been included as a rare non-English book as literature on the official website of in-yer-face theatre by British critic Aleks Sierz. The book received the prestigious Croatian Award (Petar Brečić, 2006). After five years, in 2009, the second edition was published, including not just an additional chapter about  the destiny of new European drama over those five years, but also reactions to the book (attacks and praise). Croatian drama. Nikčević edited the first anthology of Croatian plays published outside Croatia: "Anthology of Contemporary Croatian Drama" (Macedonia, 2002). Her book on Croatian drama "What is Croatian drama to us?" (Zagreb, 2008), deals with some less-fashionable but very important writers (Tanja Radović, Miro Gavran), genres (the comedies of Ivan Kušan or literary cabaret of Borisa Senkera) and topics (the disappearance of political drama after the fall of communism, religious plays during wartime, etc.) She offered a new classification of  Croatian drama () based upon the attitude of the drama toward reality, where she proves that this attitude has three points: politics, emotions and intertextuality. Some decades are dominant in dealing with one point: the 1960s and 1970s with politics as a means for the destruction of the individual (Ivan Kušan, Ivo Brešan, Dubravko J. Bužimski, Škrabe/Mujićić/Senker), the 1980s dealing with emotions and the inner world of the hero (Miro Gavran, Lada Kaštelan, Mate Matišić), authors of the 1990s are in search of intertextuality (Ivan Vidić, Asja Srnrc Todorović, Tomislav Zajec), while the latest period is in search of  the voice between these three points. Croatian war drama (on the Homeland war). Edited: The anthologies and Nikčević's theoretical work on the topic ("Plays on Homeland War of one hundred titles from cabaret till allegory", published in the journal "Republika" 7-8/2012. p. 67-91) are changing the usual beliefs that there are no war plays from the Homeland War or that these plays are not of a good quality. Her research showed that from 1990–2011 more than one hundred professional Croatian plays were published or performed, plays that are connected with the topic either directly, through a character  connected with the war, or through allegory (speaking about another war but with direct inspiration from the Homeland War). Analysis of a play shows the completely different attitudes of war plays (written during 1990–1995 or 1997) and postwar plays (written after 1995 of 1997). War plays were affirmative and warm plays, melodramas and comedies helping the audience to survive their crazy and illogical reality, giving some hope. Plays depict possible solutions to conflict, and even when the hero dies or is killed, at the end, warm and positive emotions about them live on (love, friendship, faith, love for homeland) that  allow the audience to feel and go through an intense and purifying catharsis. After-war plays are completely different. Although each play contains the author’s ideological and political views, in post-war plays about the Homeland War, this is quite obvious. So-called "left" authors consider the former system good and blame Croatia for what they call civil war. On the other side, so-called "right" writers consider communism the worst ideology ever, and wish for Croatian independence from Yugoslavia and see the Homeland War as a result of Serbian aggression towards Croatian territory. Both sides however consider the  society we live in as the failure without any solution or exit for good and honest characters, without any catharsis at the end for the audience. Both sides try to understand reasons for it – the left thinks the guilt is on Croatian nationalists who destroyed communism and former Yugoslavia in the moment that things were good. The right thinks former communists are to blame who now mimicries the democratic political system and destroy the new society. Post-war comedy is even darker: it is grotesque to laugh at the aberration of society, but laughter stays frozen at the end because  aberration is forever. (Mate Matišić, Nina Mitrović, etc.) Theatre criticism. Nikčević edited a collection on essays in "English Theatre Criticism Today" (2002) as a result of three symposiums on theatre criticism that she organized in the Croatian centre of ITI (Pula 1998 i 1999, Zagreb 2000). She published the first theoretical book on theatre criticism in Croatia: "Theatre Criticism or Inevitable Companion" (2012), where she compared two different attitudes toward theatre criticism (European and American) with a new definition of the genre. Awards. 1999: Honorary citizen of Waterford, Connecticut, USA 2000: The Order of Croatian Pleter by the President of  the Republic of Croatia, for the promotion of Croatian culture 2006: "New European Drama or Big Deception" (2005), Award Petar Brečić, for book on theatre 2013: "Theatre Criticism or Inevitable Companion" (2012), Award Antun Gustav Matoš Matica Hrvatska, for best critical book