Seminário Internacional de Jovens Críticos de Teatro (II)
Na sequência da série especial dedicada ao Seminário Internacional de Jovens Críticos de Teatro, que decorreu no Porto entre 12 e 17 de Novembro, no âmbito do PoNTI '04/13º Festival da União dos Teatros da Europa, o texto que se segue foi escrito pelos participantes de um Seminário Internacional de Críticos de Teatro para os jovens críticos que estiveram no encontro do Porto.
A MINI CULTURAL BRIDGE IN THE FORM OF A LETTER
Attn: Participants in the Young Critics Seminar in Porto, in November 2004, and in future IATC Young Critics seminars
From: ten "experienced" - i.e. old - critics, who attended a seminar in St Petersburg under the auspices of the Baltic House at the beginning of October 2004
Na sequência da série especial dedicada ao Seminário Internacional de Jovens Críticos de Teatro, que decorreu no Porto entre 12 e 17 de Novembro, no âmbito do PoNTI '04/13º Festival da União dos Teatros da Europa, o texto que se segue foi escrito pelos participantes de um Seminário Internacional de Críticos de Teatro para os jovens críticos que estiveram no encontro do Porto.
A MINI CULTURAL BRIDGE IN THE FORM OF A LETTER
Attn: Participants in the Young Critics Seminar in Porto, in November 2004, and in future IATC Young Critics seminars
From: ten "experienced" - i.e. old - critics, who attended a seminar in St Petersburg under the auspices of the Baltic House at the beginning of October 2004
Dear Young Colleagues,
After a five-day theatre marathon (over 14 hours of which carne courtesy of Lithuanian director Eimuntas Nekrosius), we are exhausted. We have watched, taken notes and slept in the dark. We have stayed up too late and we have woken up far too early for each of our daily discussions.
Summoning up a final burst of energy, however, we have sat down to draw a list of the critics' ten commandments especially for you.
Please don't repeat our mistakes but rather take note of them.
1. Be honest. If you don't understand something, just say só: "This isn't clear tome."
2. This isn't the same as revealing your ignorance: don't say King Lear is a terrible play unless you're pretty sure of your argument.
3. Preserve and develop the talent to recognise beauty. Sometimes it's better to start a review with the good things before moving on to the bad.
4. When you see a bad performance, have the guts to say só. In the short-term you might lose friends, but in the long-term your honesty will gain you respect.
5. Leave your prejudices at the door. Just because you hated the company's last five shows, doesn't mean the sixth won't be a work of genius.
6. Declare your biases. If you always dislike musicais or you always love Ray Cooney farces, it's reasonable for the reader to know.
7. You are writing for your readers, not for the theatre profession and not for posterity. You must entertain, amuse, excite, inform and argue just as much as anyone working in the theatre. And you must do it on your own terms.
8. Get a life. Just because you spend ali your time in theatres doesn't mean your readers do. To be in their world, you must refer to real life. You should know about politics, literature, pop music, reality TV, soap operas, philosophy, art, technology, science, computer games, supermarkets, architecture . . . in short, everything.
9. Never marry an actor. If you can't help it, do só temporarily to get some inner knowledge of the theatre.
10. There's no recipe for criticism. You'll never know how to do the job. The day you feel you've mastered it is the day you should quit.
Summoning up a final burst of energy, however, we have sat down to draw a list of the critics' ten commandments especially for you.
Please don't repeat our mistakes but rather take note of them.
1. Be honest. If you don't understand something, just say só: "This isn't clear tome."
2. This isn't the same as revealing your ignorance: don't say King Lear is a terrible play unless you're pretty sure of your argument.
3. Preserve and develop the talent to recognise beauty. Sometimes it's better to start a review with the good things before moving on to the bad.
4. When you see a bad performance, have the guts to say só. In the short-term you might lose friends, but in the long-term your honesty will gain you respect.
5. Leave your prejudices at the door. Just because you hated the company's last five shows, doesn't mean the sixth won't be a work of genius.
6. Declare your biases. If you always dislike musicais or you always love Ray Cooney farces, it's reasonable for the reader to know.
7. You are writing for your readers, not for the theatre profession and not for posterity. You must entertain, amuse, excite, inform and argue just as much as anyone working in the theatre. And you must do it on your own terms.
8. Get a life. Just because you spend ali your time in theatres doesn't mean your readers do. To be in their world, you must refer to real life. You should know about politics, literature, pop music, reality TV, soap operas, philosophy, art, technology, science, computer games, supermarkets, architecture . . . in short, everything.
9. Never marry an actor. If you can't help it, do só temporarily to get some inner knowledge of the theatre.
10. There's no recipe for criticism. You'll never know how to do the job. The day you feel you've mastered it is the day you should quit.
Yours sincerely,
Anneli Saro (Estónia) Geert Seis (Belgium) Larisa Turea (Moldova) Lawrence DeVine (USA) Mark Fisher (Scotland, Britain) Matt Radz (Quebec, Canada) Nikolai Pesochinsky (Rússia) Spyros Payiatakis (Greece) Zuzana Ulicianska (Slovakia) Kalina Stefanova (Bulgária) - monitor
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