How to Write Like A N.Y. Times Critic, or Notes on a Workshop with Claudia La Rocco
by Kristen Gillette
Sunday, February 24th at the LAB, Painted Bride Arts Center
You have the freedom to determine the audience for your critique
Audience determines what your piece contains
Do you make it a historical record?
Mention every dancer?
Include the context of the event?
…Or not?
Criticism is an art form too
Our critique pieces serve two art forms: dance and writing
Ultimately, it’s important to serve the art form of criticism; it becomes impossible if
you try to serve every person in the piece
you try to serve every person in the piece
If you use “I” voice well, people don’t argue with it
Trust that readers will know your piece is one person’s point of view
Don’t issue a disclaimer
Use what you know
Don’t be afraid to use your specialized knowledge
Use your experiences and knowledge you’ve gained as an artist
Don’t be afraid to write about what you don’t know well or are confused about
So many of the things we think of as problems and limitations are the best things
we have
we have
The problems and limitations we bring often create the richest writing
Avoid too much frosting
Be aware of modifier pile-up
Don’t be too cute
Avoid relying on cute clichés to get into a work “I was transported into the work by…”
Be cautious of the line between being deliberate and a bit precious; sometimes kids’
questions can be evocative—sometimes not
questions can be evocative—sometimes not
Build an architecture in your piece
You want to vary structure: Humor is a good way. Or facts: from dry facts, to a comment
that is sarcastic, so there are different rhythms and textures
Think about how a dance phrase or a lawyer’s opening arguments are structured
Hash it out with yourself if you have varying opinions, double back, be vibrant and
strong in the moment
that is sarcastic, so there are different rhythms and textures
Think about how a dance phrase or a lawyer’s opening arguments are structured
Hash it out with yourself if you have varying opinions, double back, be vibrant and
strong in the moment
Deploy ONE Sarcasm Dart
“The problem with sarcasm is that it can be easy for us to dismiss what you’re saying”
Instead of using a bunch of little darts, deploy one. It’s more powerful. Creates space
for you as a writer
for you as a writer
Be cautious of loaded metaphors
Loaded metaphors stop a piece dead in its tracks
Be aware of the implications of summing up a work in one sentence or metaphor
…but make sure you HAVE a clear opinion
“I’m not particularly into reading something that doesn't have a strong opinion “ For Claudia's take on her work with us and selections from our writing with her visit http://theperformanceclub.org/2013/02/philly-edition/
By Kristen Gillette
April 1, 2013
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