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Thanks for the correction, Alison, tho, natch, right after I'd clicked 'send' I remembered it. You rightly draw attention to 'movement', the import which's, typically, blindingly obvious to directors and actors, but not to the audience, or, often, to critics. As a playwright, I didn't seriously credit it until I saw the effects of an inspired director of one of my short plays. This past summer that import magnified thousandsfold when I saw Black Watch here in my home city of Norfolk, VA, with the original cast of the National Theatre of Scotland. I credit Steven [do correct me!] Hoggett, Director of Movement, for much of the play's success. If you've not read it already, do try to take time to read Jane Edwardes' excellent review of the play for Time Out London: http://www.timeout.com/london/theatre/features/5033/-Black_Watch--preview.html You're quite right about movement as well as silence being effective [and underrated] factors in plays. The long silent miming portion of Black Watch caught me quite emotional, and that surprised me, given the nearly continuous dramatic speech, music, and battle sounds throughout the performance. Powerful. Like modern dance. The metaphoric art of it rivals poetry. Do keep us posted on what you observe and involve yourself with in the areas of modern dance and theatre. Best, Judy 2008/12/7 Alison Croggon <[log in to unmask]> > Roger's already pointed its nickname is the Grauniad, due to its > notorious typos. (It's Lyn Gardner, btw, and yes, she's a very fine > critic). When I'm in the UK, I take particular pleasure in the > newspapers. I don't buy them here any more, unless I have a review in > and need the tearsheet. Which is rather sad, really, I used to like > spreading them over the kitchen table and having a leisurely read with > a coffee. But they're thin and disappointing, and I get my news online > these days. > > It's particularly challenging and interesting to write about > performance (which is really what drives me). It never feels adequate. > In the past couple of years I've been investigating contemporary > dance, which is even more challenging. The companies seem to like it > and keep inviting me, and I find it incredibly stimulating. It's a bit > like looking at visual art (no words, very good for a poet). But it > drives you straight up against the limitations of language. > > xA > > On Sun, Dec 7, 2008 at 11:42 PM, Judy Prince > <[log in to unmask]> wrote: > > Hi, Alison. Interesting, your saying you're 'home there' in the theatre. > I > > feel the same. Almost like a secular religious experience. > > BTW, I call the Guardian 'Groan' as a ref to what many call it but I > can't > > remember how they spell it. Their ref comes from noticing the constant > > misspellings in the paper itself, which seem to persist, but not > > super-often. I love the paper. Can only contrast it, UK'ly, with The > Times > > and The Scotsman, both good, but not as Whole and Human as Groan, > IMNeverHO. > > USA papers I read regularly are NYT, and the LATimes. As to newspaper > > theatre critiquing, I'm aware that Groan has not only MIchael Billington > but > > Nancy Gardner, she whose coverage, concision-with-meaning, and spot-on > > assessments astound me! I've found, as well, one or two exceptional > critics > > in London's online Timeout. > > > > My attempts at reviewing [which at the time I thought were excellent] > > turned out to be analyses of the play, not the production---not what > folk > > want when they turn to a theatre critic! ;-) My hat's off to you and > > others who can manage Real reviews! > > > > Best, > > > > Judy > > > > 2008/12/6 Alison Croggon <[log in to unmask]> > > > >> Hi Judy - theatre's one of my thangs, certainly. I feel at home there, > >> even when I'm dodging brickbats. > >> > >> And yes, it is "groan"... I get very tired of the whole > >> blogger/mainstream critic thing. I see on average about two - > >> sometimes three - plays a week through the theatre season, which can > >> get punishing. I guess it's also a bit different in Australia, since > >> many theatre bloggers are also mainstream theatre critics, me > >> included, so the question seems rather tired - I'm the Melbourne > >> theatre reviewer for the national daily here, the Australian, another > >> blogger, Chris Boyd, reviews for the Financial Review and the Herald > >> Sun, another edits a local weekly arts magazine, yet another is a > >> journalist on the Australian, etc etc. I write 400 word reviews for > >> the Oz, and on average 1200 word reviews for the blog, and in the blog > >> review many shows which don't get into the arts pages of the Oz. And I > >> like blogs because, unlike print reviews, what I write is available in > >> the archives all the time, and is easily accessible to anyone who is > >> interested. Which probably tells you all you need to know about the > >> difference between the two activities. I know which one is hardest > >> work! > >> > >> I freelance for the Guardian blog pages now and then. It usually > >> elicits charming comments like "why are we reading about those > >> colonials in Orstrilia?" > >> > >> xA > >> > >> On Sun, Dec 7, 2008 at 1:55 AM, Judy Prince > >> <[log in to unmask]> wrote: > >> > Alison, I'm playing 'catch-up', just read your smashing essay on > Barry's > >> > *Ecstasy* in your Theatre Notes: > >> > http://theatrenotes.com/2008/08/on-ecstasy.html > >> > > >> > Really do feel that theatre's your 'thang', Ms A. > >> > > >> > As if, apparently, remembering that, I put in a last bit for you - and > >> > others - in this yesterday's comment to Groan [Guardian] online > article > >> on > >> > critics vs theatre bloggers: > >> > > >> > Dec 06 08, 5:23am > >> > > >> > Yes, indeed, definitely. May I present some further logic and then a > >> > proposal: > >> > > >> > 1) Bloggers're great, fine, and likely to be as astute, professional, > >> > thorough, backgrounded, and entertaining as paid critics----and as > >> quixotic, > >> > odd-focused, ill-tempered, and 'out to lunch', as paid critics, as > well. > >> > Blogs, yes, excellent, on the reasonable principle that more is > better. > >> But > >> > blogs do not have the grabability of a major newspaper. This and other > >> > newspapers [online or in print] draw readers in far greater numbers > than > >> > individual blogs can. > >> > > >> > 2) Most theatre critics have not been Educated Properly for their > >> > role---which I find all the better for what they must do: see a lot of > >> > plays, do a lot of research, grow along with the growing theatre > >> community, > >> > develop the long view that inevitably opens an impassioned observer to > >> > worthy, fresh work. They don't necessarily need a uni degree in any > >> aspect > >> > of the theatre; they do need play-immersion out of sheer adoration for > >> it, > >> > and they need A Life other than theatre. > >> > > >> > That said, even dedicated bloggers are few who would attend 12 plays a > >> month > >> > for years, and for each play submit a review that's responsible, > >> detailed, > >> > and helpful to theatre practitioners as well as theatre-goers. We > have, > >> > then, the continuing need for newspaper-paid theatre critics. In fact, > I > >> > propose the need for MORE newspaper-paid theatre critics. > >> > > >> > 3) We need more because we need to have more information. We need to > hear > >> > the unheard gossip, be moved to visit less-familiar-to-us play venues, > >> find > >> > out more of the techniques of playwrighting, acting, directing, > scene-, > >> > costume-, lighting-, sound- and movement-design. We need to hear it > from > >> the > >> > folk who actually work in those areas. Hence, > >> > > >> > 4) I propose Guest Critics in addition to main critics. A different > Guest > >> > Critic each month could be 'found' and tapped by the newspaper, or > they > >> > could volunteer themselves by submitting several reviews to recommend > >> them > >> > for the monthly spot. They could, as well, be from other countries > >> reporting > >> > on plays they've seen in their native lands. > >> > > >> > Surely this newspaper in this nation can manage enthusiastic inclusion > in > >> > its theatre criticism as well as in its theatres. > >> > > >> > >> > >> > >> -- > >> Editor, Masthead: http://www.masthead.net.au > >> Blog: http://theatrenotes.blogspot.com > >> Home page: http://www.alisoncroggon.com > >> > > > > > > -- > Editor, Masthead: http://www.masthead.net.au > Blog: http://theatrenotes.blogspot.com > Home page: http://www.alisoncroggon.com >