New Criticism & Writing From a Place of Privilege

Edited by Caitlin Gowans The hype around #Canada150 has seemingly come and gone and like many others, I spent Canada Day in reflection. On this occasion there was an outpouring of ‘think pieces’ from white individuals, myself included, stating their discomfort or feelings of awkwardness in regards to celebrating Canada Day this year because of … Continue reading New Criticism & Writing From a Place of Privilege

Advertisements

Half-baked

I wrote some time ago about “the end” of art. Now it’s time to talk about the beginning. How does the artist know when a piece is ready? How does the audience know when it’s half-baked.   There are different kinds of ready. A play might be ready for a staged reading. It might be … Continue reading Half-baked

The Collaborative Audience

It was brought to my attention last week that I was talking about theatre criticism as a collaboration between theatre artist, critic, and spectator without really exploring what that means. I touch on the relationships between these types of people a bit in the article on The Separation of Art and Critic, but I think it might … Continue reading The Collaborative Audience

Scarcity Culture (or Attitudes for Making Art)

Scarcity culture is the persistent systemic feeling that there’s not enough of something to go around. In theatre, that usually means one of two things. In the first place, usually from the mouths of artists: there isn’t enough audience for their work. In the second place, usually from the mouths of people who consume art: … Continue reading Scarcity Culture (or Attitudes for Making Art)

Approval Creep (or why I won’t say everything is amazing)

This week I am going to talk about a rather insidious process I am calling ‘approval creep.’ We’ve touched on something like this before, in a discussion about star ratings, but this part of the conversation is a more constructive (rather than deconstructive) look at the way our particular brand of criticism works (and doesn’t … Continue reading Approval Creep (or why I won’t say everything is amazing)

Idealism in the Theatre (Or: The Role of the Critic)

Critics are positioned in a middle ground between the artist and audience, each of whom perceive the critic (in their ideal form) to be in uniquely service to their interests. From the perspective of theatre creators, the critic is part of their publicity machine. We write reviews principally for the purpose of steering audiences towards … Continue reading Idealism in the Theatre (Or: The Role of the Critic)