Dear Kit
Love the tone of your missive.
While there maybe 'so much rubbish everywhere,' a) real rubbish is the
material of my work and b) I've been personally rebuked (rightly) elsewhere
for moaning (this is no reflection on anyone here, for it was I who moaned).
Recovering from a bad flu bug, the theft of my cold frame (no relation) and
a bill for rebuilding my car, it is very difficult to be positive. Yet, what
I find very positive here is cris cheek's 'recording the Rime...'
contribution which not only documents his project but details his working
method (in collaboration with Colerdige School Cambridge, TNWK and others).
This seems to connect to your 'canvassing' too.
I understand critical practice but have a problem with "practical
criticism." Here in my hand is "The Practical Criticism of Poetry" - a
textbook - edited by C.B.Cox and A.E. Dyson (1969). As textbooks go it's
good for its time, employing the 'direct method' of seminar discussion to
analyse poems. Because it works out of that discussion, contrary and
contradictory opinions mix with a body of questions. Ok to this point. Yet,
if the poet isn't dead, the text lies there dead. Nothing wrong with dead
poems at all! However, we can't engage with the practice and method of the
poet thereby. Even in this textbook, the lively questioning runs into the
wall of history and its weight. Indeed, despite the students' enthusiasm,
even this criteria of criticism builds their critical faculties as it closes
doors on their own practice. Hence I'm nervous about 'criticism.'
In Norwich there's debate concerning reforming Playwrights East.
Professionals and academics want it to be pitched as a 'professional
group' - in contrast to the excellent playwriting groups in Ipswich and
Cambridge. One proposal is that the new Norwich Playwrights East will centre
on critical rehearsed readings of near professional works. Blimey,
professionals playing house to near professionals, how stifling is that?
Just three years ago Playwrights East, run by one Kirsten Riley, was very
exciting. Whether you were professional, novice or off the street, the
bombarding mix of practioners and practice - lectures and seminars but above
all workshops and projects - was impelling and engaging as process. "Right
you lot, over this weekend you will write and perform a seven minute piece
with two characters - and one or both characters will take an instant photo
within it. Go to it."
That photo - one was immediately thrown into different territory.
This probably doesn't help at all with your question but seems to have
lifted my bug!
All best wishes, Rupert
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