Theatre criticism: Where the critics are struggling to analyse contemporary theatre
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Budha Chingtham
Contd from prev issue
In the newspaper reviews, most of the critics are employing standard formula while critiquing a theatrical work. Such kind of reviews comprise information about the production, title, a brief note of the group, the director, and the writer. It also excludes the place, time, plot summary, acting, staging, light, make-up, music, the actors and other remarks.
Critics who are writing newspaper reviews do not get the opportunity to do an in-depth analysis and the reason is the unavailability of enough space in the newspaper where they can dedicate to the analysis more. This is a problem faced by every newspaper. However, the people find the brief critical assessment more enduring. Some critics said they cannot be concise and they tend to write more. It is indeed a difficult task to be concise and fit all the detailed ingredients in that small space.
Such form of concise writing is appreciated not only in Manipur but also in other parts of the world. So, it is disheartening to look at the level and quality of critics who are trying their hand in this field without the adequate skill or aptitude. At the same level, there are critics who deserve encouragement and appreciation.
One of the disappointing approach followed in newspaper reviews is the analysis of both professional plays and amateur plays by using the same framework. In other words, it is quite unfortunate to assess a professional play with the same formula that is applicable to an amateur play. Such reviews can never truly shape the contemporary Manipuri theatre. The same yardstick cannot be applied. “He should always make a difference between the performance of professionals and amateurs, because the amateurs should not be judged by the same yardstick with which the professional are to be judged.” A critic should always keep this in mind.
Manipuri theatre today, is in a transitional period from the 20th century to the 21st century. Our critic is witnessing “New Theatre” and along with it, three levels of theatre: theatre houses in rural areas; amateur and semi-professional urban theatre, and world class theatre. So, a critic is finding it very difficult to analyse amateur plays in Manipuri theatre. The critics have to be supportive, have to foreground the merits and also have to be kind while pointing out the faults. A critic should always aim to become a good critic. He has to make sure that his criticism should appeal to those who are interested in the subject and also those who are not interested in the subject. A good critical review is taken as a part of good journalism. The opinions of popular critics are revered as valuable.
Our critics should be well versed with the theatre of this soil. It is high time for our critics to analyse how our cultural framework is shaping which kind of world class plays. Our directors too need to communicate through their plays and go deeper.
Now the time has come for the theatre personalities to put aside their differences and work together by sharing their thoughts and information. There is a need for consistent discourse between the theatre critic and the theatre maker. Only then, the critics will be able to contribute effectively and pave the way for the full bloom of our theatre.
Contd from prev issue
In the newspaper reviews, most of the critics are employing standard formula while critiquing a theatrical work. Such kind of reviews comprise information about the production, title, a brief note of the group, the director, and the writer. It also excludes the place, time, plot summary, acting, staging, light, make-up, music, the actors and other remarks.
Critics who are writing newspaper reviews do not get the opportunity to do an in-depth analysis and the reason is the unavailability of enough space in the newspaper where they can dedicate to the analysis more. This is a problem faced by every newspaper. However, the people find the brief critical assessment more enduring. Some critics said they cannot be concise and they tend to write more. It is indeed a difficult task to be concise and fit all the detailed ingredients in that small space.
Such form of concise writing is appreciated not only in Manipur but also in other parts of the world. So, it is disheartening to look at the level and quality of critics who are trying their hand in this field without the adequate skill or aptitude. At the same level, there are critics who deserve encouragement and appreciation.
One of the disappointing approach followed in newspaper reviews is the analysis of both professional plays and amateur plays by using the same framework. In other words, it is quite unfortunate to assess a professional play with the same formula that is applicable to an amateur play. Such reviews can never truly shape the contemporary Manipuri theatre. The same yardstick cannot be applied. “He should always make a difference between the performance of professionals and amateurs, because the amateurs should not be judged by the same yardstick with which the professional are to be judged.” A critic should always keep this in mind.
Manipuri theatre today, is in a transitional period from the 20th century to the 21st century. Our critic is witnessing “New Theatre” and along with it, three levels of theatre: theatre houses in rural areas; amateur and semi-professional urban theatre, and world class theatre. So, a critic is finding it very difficult to analyse amateur plays in Manipuri theatre. The critics have to be supportive, have to foreground the merits and also have to be kind while pointing out the faults. A critic should always aim to become a good critic. He has to make sure that his criticism should appeal to those who are interested in the subject and also those who are not interested in the subject. A good critical review is taken as a part of good journalism. The opinions of popular critics are revered as valuable.
Our critics should be well versed with the theatre of this soil. It is high time for our critics to analyse how our cultural framework is shaping which kind of world class plays. Our directors too need to communicate through their plays and go deeper.
Now the time has come for the theatre personalities to put aside their differences and work together by sharing their thoughts and information. There is a need for consistent discourse between the theatre critic and the theatre maker. Only then, the critics will be able to contribute effectively and pave the way for the full bloom of our theatre.