In theatre criticism, the lines between professional and amateur have softened considerably since the turn of the twenty-first century, with much attention – academic and journalistic – given to the impact of amateur theatre criticism on theatre-making and marketing, on newspapers, and on theatre scholarship. So far, however, the voices and perspectives of amateur critics themselves have largely been absent from research. To rectify this absence, this study applies sociological concepts from Pierre Bourdieu and Sarah Thornton to thirty-five interviews undertaken with practising theatre bloggers in the United Kingdom in order to understand their relative positions within three intersecting fields: the field of professional theatre reviewing; the field of online ‘influencing’; and the smaller and more specific field of ‘amateur’ theatre criticism. Here, the study undertaken finds a significant proportion of practitioners using the counterpoint of the ‘fangirl’ – whose practices of appreciation and etiquette are widely disparaged – to advocate for their own purportedly more intellectual and professional approaches to critique.

中文翻译：

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不是 Billington，不是 Zoella，绝对不是“Fangirl”：业余戏剧评论家社区内的社会区别


在戏剧批评中，自 21 世纪初以来，专业和业余之间的界限已经大大软化，业余戏剧批评对戏剧制作和营销、报纸和戏剧学术的影响给予了学术和新闻的广泛关注。然而，到目前为止，业余批评家自己的声音和观点在很大程度上没有出现在研究中。为了纠正这种缺失，本研究将 Pierre Bourdieu 和 Sarah Thornton 的社会学概念应用于对英国执业戏剧博主的 35 次采访，以了解他们在三个交叉领域的相对位置：专业戏剧评论领域;在线“影响”领域;以及更小、更具体的“业余”戏剧批评领域。在这里，所进行的研究发现，很大一部分从业者使用“迷妹”的对位——她们的欣赏和礼仪做法被广泛贬低——来倡导他们自己据称更理智和专业的批评方法。