‘Critics are Parasites’

 Meet the Critics at the V&A organised by the Critics Circle 27/04/13

I coordinate the activities of the Young Critics, the new 3rd Age Critics group and helped set up the inaugural Theatre Critics of Wales Awards at Sherman Cymru earlier this year. I read with interest that the Critics Circle was organising a free event for anyone interested in a critical understanding of the arts and went along to learn more.
The morning session was chaired by Paul Gambaccini and comprised of a series of five panels consisting of three critics, one panel from each Critics Circle section, Drama, Music, Film, Dance and Visual Arts, the panellists talked about their relevant fields and answered questions. Critics present included Michael Billington, Mark Shenton, Jason Solomons, Barry Norman, Marine Vaizey, Claire Allfree, Jeffery Taylor, Libby Purves, Fiona Mountford, Richard Morrison, Guy Dammann, Erica Jeal, Sanjoy Roy, Donald Hutera, Simon Tait, Hugh Pearman and Sarah Crompton.
The morning session consisted of the different critic’s panels discussing their entry routes into the world of arts criticism, this being most frequently that of the journalist.
There were some interesting and provocative statements relating to the critical process with Barry Normans definition of the critic as ‘parasites’ appearing to resonate most strongly in the room.
Other statements included,

• The critic must be honest to the audience.
• Don’t bore the reader.
• The opinion of the star struck critic is worthless.
• Don’t be in awe of someone who earns their living from pretending to be someone else.
• Critics shouldn’t be populist celebrities it’s a form in its own right.
• Someone over 40 with considerable life experience and knowledge of their form is a better critic than that of a young person.
• Be brave, failure is good.
• Nobody wants to make bad work.
• A review can be better if the critic understands the artist’s intention.
• Good writing is rewriting.
• The critic provides the match report.
• Make the reader know what it was like to be there.
• The critic is a professional member of the audience.
• Without critics we risk the sound of one hand clapping.
• The best critics are practioners, but not the best reviewers.

The second half of the session was chaired by Mariella Frostrup and devoted to the future of the critic and their trade. Topics for discussion included what might happen to criticism in the age of the blogger, the impact on the critic’s trade and the standards of the on-line amateur with opinions but no qualifications for holding opinions, the tweeter who tweets without thought, and of people who have no experience of life.
I felt this afternoon session focused primarily on many of the negative elements of the internet and the changes currently taking place in the world of arts criticism.
It was immediately apparent that the process of change currently taking place for many arts journalists is a very difficult process but I felt that many of the positive aspects of the internet were overlooked. This also seemed to relate to the opinion of some of the panellists and the Critics Circle themselves, they seemed to think  that for a critic to have a worthwhile opinion they need to have considerable life experience and to have an in-depth knowledge of their subject matter. Whilst I am sure this is true to an extent I feel this risks alienating a huge sector of new potential critic’s especially younger ones.
In my opinion the positive developments of ‘everyone is a critic’ alongside the internet has allowed a more inclusive voice to be heard regarding many art forms. There are a range of audiences/ages for much of the work created and I don’t feel its representative to only focus on the voices of older predominately male critics.
I feel that projects such as Young Critics, 3^rd Age Critics, Wales Arts Review and magazine websites such as A Younger Theatre help to support a more honest, inclusive critical voice as opposed to the Critics Circle ideal critic
‘Which is not to say critics should be dinosaurs just that they should have lived a little.’
 
 
With these thoughts in mind the Young Critics have arranged the event below to continue the discussions in Wales
‘Response’
A series of critical conversations The Wales Millennium Centre, Cardiff, Sat the 7th of Sep 10-4 pm.
Subjects for discussion at Response may include

• Venue/producers presentation, an open forum to discuss the relationship with Arts Critics, venues, producers and artists.
• Lack of critical commentary in an area, and what can be done/is being done to support work.
• Looking beyond the traditional routes for criticism, how can engagement go further?
• Producing venues from across Wales will be invited to attend these days to showcase their work and invite a critical response (this will be cross art form).
• The notion of the “professional” critic in the age of blogging; a discussion with arts practitioners about the kinds of criticism (if any) which they find useful.
• Arts Criticism in the Welsh Language (With a focus on work for younger audiences).
• The future role of the Arts Critic.

If you have any suggestions for discussion topics or would like to present at Response please let me know.
 
 
Critic’s Circle article on their event.
http://www.criticscircle.org.uk/Default.asp?ID=330&PID=1

Incubator is a platform for new companies that allows them to develop their productions in the Wales Millennium Centre. I went to see a production called ‘The Violence of Summer’ by Sean Tuan John and Bert Van Gorp which is in development with the Incubator . Throughout the incubator period they have tried out various theatrical approaches to the themes of the outsider and deviant in society. Research into sociological ideas has been carried out through reading definitions of a deviant and criminal court cases to inform their work.
The stage lights up to reveal around 50 rubber pigs all laid out in a sequential order with two older men sat in garden lawn chairs. At the starting moment they have already got my attention, through all the enigma codes being conveyed such as ‘what’s with all the pigs?’ ‘Who are these men?’ I can’t help but be intrigued, and this is something which is great about the production. As the music kicks in these men begin to dance uncontrollably between these 50 pigs for the majority of the 55 minutes, in some parts they slow down and the music gets quieter which gives the show a good dynamic of pace. There’s one prevalent moment when the character speaks about his difficult childhood however it doesn’t tell me enough to really discover the truth of the narrative. The production is supposed to express ideologies about the ‘deviant’ in society and a major downfall of the production is that these ideologies aren’t conveyed enough in the narrative or characters.. The production aims to combine humour and dance however with a big topic that is sensitive to society such as ‘adult males that hurt children’ it doesn’t do it enough justice to make the humour credible.
On the other hand the play is good on how it challenges and is different to other productions with its aim to mix contemporary dance and humour. The production is clearly carried out by a company that are enthusiastic and they makes it much  more enjoyable to watch. Incubator is a great concept as it gives productions like ‘The Violence of Summer’ the tools and advice it needs to grow. I hope that through Incubator it’s narrative and ideologies are improved to be more clear to audiences.

After studying Carol Ann Duffy’s work in school, I can say that my expectations were set high as I sat amongst an audience of restless young minds and excited adults alike.  I couldn’t wait to see how Duffy’s vivid imagination and blunt tone would play out on stage in comparison to the short poems I’d analysed so carefully.

The play featured four young, talented actors that sang and waltzed and even pecked their way across the stage, using the lack of props to their best of their ability as they gave two exemplary performances of the infamous tales, Hansel and Gretel and Ashputtel.
Needless to say, the children in the audience settled down quickly as the production began with the eerily soothing voices of Hansel and Gretel’s family, and they stared at the awe-filled children with big eyes, maintaining enough eye contact with each spectator as to include each and every person in the new world they presented.
Although the tale of Hansel and Gretel delivered a more melancholy side of Duffy’s imagination, the ending was sure to warm the hearts of every parent in the room, enough to prepare them for the big dose of fun the second half of the production was ready to lump on top of them, and, true to its name, Ashputter left in its wake a layer of ashes impossible to shake off after it’s spectacularly bright show.
At one point towards the end of show, a step-sister screeched mid-stage as she used a plastic axe to saw off the tips of her toes that she couldn’t fit into the slipper.  Although the guffaws of the children suggested they found the act funny, I’m sure some parents, as well as myself, found the incessant screaming and fake bloody rag more than a little bit alarming.  This was not a rare occurrence either, as body parts were chopped off on two occasions.
On the whole, Grimm Tales was an eye-opening, funny, and family-orientated production I wouldn’t hasten to recommend to a family with younger children, so long as the members were okay with a little bit of gore.

 
Poet Laureate Carol Ann Duffy and Theatr Iolo produced the magical stories of the Grimm Brothers which included the tales of Ashputtel which is the original Cinderella story, and Hansel and Gretel, which I saw at Sherman Cymru, Cardiff.
The production consisted of just four actors, who played all the designated roles simultaneously. This was by far the best show presented. It offered goriness, fear and appraisable imagination. It took a turn back in time; rather than showing the predictable show of lust, hope and forgiveness, it allowed for the younger audience to be revealed ever so gently to the disappointments and punishments of life. It had many memorising moments within the production, alongside many frightening parts, such as the birds pecking the eyes out of the two step sisters. Although the production was aimed at a young audience, it gave them the chance to relate to mature content. The gasps in the audience indicated that the audience was surprised each time the play took a new turning. It was a chance for the 21^st century audience to see a combination of modern with traditional. The play elegantly summed up the original story of the Grimm Brothers with the appropriate level of obscurity.
Overall the production was a great success, as it intrigued the audience; it allowed the audience to search their imagination and come up with their own twists and outcomes of the play.