The web has encouraged the proliferation of reviews written by anyone who has flair and talent, without worrying too much about setting criteria or stating the method adopted. The spaces for more in-depth reflection on the criticism of the shows have therefore been reduced. The crucial question is whether the aesthetic judgment on a performance is based on criteria that have some objectivity or if it is purely subjective. In the essay Pourquoi the nouvelle critique: critique et objectivite (Paris, Mercure de France, 1967), Serge Doubrovsky – a French historian of Polish origin - states that in aesthetic matter there are no objective parameters of evaluation. And yet, this does not mean that we should give up on making judgments based on arguments and not on simple impressions. Within the Laboratorio Teatrale, therefore, we struggle to teach, discuss and apply some essential critical tools for the development of reviews that are not only impressionistic, but are based on the knowledge of the relationship between text and interpretation, of the artistic techniques involved in the performance, of the linguistic codes that constitute the tools of actors, directors and operators. Review proposals are subject to a careful examination and to collective critical discussions before their publication, with the aim of stimulating a continuous methodological rethinking of one's work. The Laboratorio Teatrale is in fact an open space, which can be a testbed for young scholars and advanced students, and a real laboratory of ideas, which stimulate a continuous and constructive comparison.