Opširniji te donekle kritički prikaz hrvatske kazališno-dramske kritike Šime Vučetića (1949.) naznačio je bitne smjernice, odlike i nedostatke pokušaja povijesnog pristupa žanru koji je tijekom godina tipološki i leksikografski razvrstan, promatran iz rakursa književne teorije, ali i nedovoljno analiziran u kontinuitetu, pa posljedično i bilježen. O tome svjedoče zasad prvi i jedini povijesni pregled Nikole Batušića u Hrvatska kazališna kritika’ (1971.) koji završava s nekadašnjom mladom nadom, a danas i dalje aktivnim veteranom kazališne kritike Tomislavom Kurelcem. Cilj je ovoga rada pokušati obuhvatiti pregledne i teorijske tekstove o kazališnoj kritici od spomenute 1971. do danas te rasvijetliti razloge nedostatka sustavnije sinteze sad već pola stoljeća žanrovske zabačenosti i razbacanosti.Šime Vučetić’s (1949) approach to theatrical criticism was broad and, in a way, critical. It suggested essential flows, characteristics, and shortcomings of a historically categorized genre, which was typologically and lexicologically divided. The analysis was approached from the perspective of literary theory but was also insufficiently explored in general. The only historical review, ‘’Theatrical Criticism in Croatia’’ (1971) by Nikola Batušić, concludes with today’s genre veteran Tomislav Kurelec, who was a young critic at the time, thus confirming the claim. The objective of this piece is to cover notions on theatrical criticism from 1971 to the present day, explaining the insufficient research on this matter and understanding the reasons behind the genre’s scatteredness and the lack of a comprehensive understanding of theatrical criticism
