Some Learnings in the Art of Theatre Criticism

At a workshop (7th-8th April 2009), organised by Thespo, veteran theatre writer Shanta Gokhale demystified the concept of theatre criticism. Reema Gehi, who attended the two-day session, recounts the lessons learnt:

At the outset, a participant's brownish-red opaque bag became the subject matter of discerning scrutiny. The rest of us were asked to spell aloud our inferences of it. Gradually, for each of us present, the meditative analysis of the almost burgundy coloured bag became a personal perspective.

Taking forward this analogy, theatre critic Shanta Gokhale initiated the discussion on theatre reviewing. Gokhale's deep instinct for the theatre and decades of insightful writing manifested itself in the words of wisdom shared.
The key lesson learnt from the above-mentioned exercise was to see the object (the bag) for what it is, build a context around it, be honest to the initial response and based on that premise, put forth an opinion.

Likewise, Gokhale believes that in order to write an incisive review, it is essential for the writer to not only have a thorough knowledge of different approaches to theatre, but to also be open to the environment around; be alert to his/her conscience and be thoroughly self-analytical in nature. Inevitably, there is a grain of subjectivity involved whilst establishing a viewpoint. However, there is a desirability to achieve objectivity while writing a review.

Delving deeper into the subject, Gokhale explained that the critic's primary concern must be to understand the intention of the director, the relevance of the chosen text in the trajectory of his/her work and if at all they are reiteriating the concerns, which may have informed their previous work.

Besides taking into account the aesthetic development of the director, viewing the new offering autonomously, is also required of an even-handed scribe. After all, every production invites its own interpretation. Through various examples and anecdotes, Gokhale laid emphasis on studying different elements of theatre like 'blocking' and 'pace of the play.' She emphasised, “It is the basis of what we know as invisible direction.”

Subsequently, the discourse led towards determining the actor's conspicuous role in the production as well as assessing how other theatrical elements like the set, light, and sound design elevate the dramatisation of the text. So also, looking at the text independently of the production and vice-versa is just as vital.
To offer a comprehensive understanding of different idioms behind theatre criticism, an essay by American theatre critic Charles Marowitz on 'English v/s American Theatre Criticism' and a piece titled, 'A Playwright's Note to a Drama Critic' were handed over to the participants. To put theory into practice, we were asked to write down our thoughts about a recently watched play.

The workshop on day one did feel like a mundane, back-to-school classroom discussion but day two was far more interactive. The second session of the short course mainly focused on the written pieces that we had prepared. Among the plays discussed were Nipun Dharmadhikari's Marathi musical DALAN, Manav Kaul's SHAKKAR KE PAANCH DAANE, Ramu Ramanathan's MAHADEVBHAI, Rajat Kapoor's HAMLET - THE CLOWN PRINCE, Rehaan Engineer's version of Howard Barker's A HOUSE OF CORRECTION, and Mahabanoo Mody- Kotwal's adaptation of Eve Ensler's VAGINA MONOLOGUES. We read aloud our responses to the respective plays. In the process, Gokhale encouraged us to voice our views on the pieces read, whilst she provided her own observations.

Conversing on each of these plays reaffirmed much of the previous day's learnings of the theatre as well as helped us explore various styles of writing. Inevitably, the conversation veered to the status of theatre writing in present day journalism. Owing to the nature of the art, which has a limited span and reach, most news publications restrict articles about the theatre to a mere snippety report or a preview of a recent production.In fact, editorial spaces allotted to theatre reviews are almost insignificant or absent in mainstream media.
Towards the tail-end of the workshop, Gokhale shared with the participants a compilation of excerpts from the writings of the notoriously famous British theatre critic and manager, Kenneth Tynan. On that note, the two-day workshop concluded.

*Reema Gehi is a theatre enthusiast, a student of Trinity College of Speech and Drama and a freelance journalist.