Monday, June 25, 2007

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i've been meaning to say something about AA Gill's Sunday Times attack on the critics and the responses that it's provoked. This particular storm seems to be already well on its way to blowing over, so maybe no one gives a shit anymore, but hey, y'know, i've been busy*.

Leaving aside snarky comments about dress sense, and the fact that some people have suggested that he's angling for a job, the substantial content of Gill's attack is as follows:

1. Critics are basically uncourteous towards the theatrical establishment, making unreasonable demands which compel theatre managers to rearrange the seating for press nights and being in such a hurry to get out of the theatre and write up their reviews that they do not even applaud the work like every other fucker has to.

2. Theatre is uniquely ill served by the critical establishment which surrounds it. Reviewers are "a moribund, joyless, detached bunch. Where are the voices that ring out as being aesthetically intelligent, passionate, current and, most important, entertaining?" In short, the writing itself is boring and stylistically bankrupt. Theatre criticism has suffered as a result, slipping in "cultural importance".

3. Britain has a great tradition of theatre writers which puts the current crop to shame. At present there's no one who can hold a torch to Tynan, Hobson or Shaw.

4. The critics place theatre in relation to other theatre rather than in relation to life outside the theatre because they have seen lots of theatre, but not lots of life outside it. "The only context for theatre in their reviews is other theatre. Drama exists in a closed museum of nostalgic experience."

Right, it's fair to say that plenty of people aren't very happy about this, although it hasn't quite caused the kind of stink that the whole "Dead White Men" shenanigans skunked off.

Now, i think it's fair to say, that 1. doesn't matter very much. 4. is arguable, but Gill don't argue it very well (although interesting Lyn Gardner accepts this point in a piece which is otherwise a refutation of everything he says), but 2 and 3... Well, put it this way - if there's a writer as good as Hobson or Tynan around now, can someone name them please? (If you are one of those who maintained that there was Absolutely Nothing Wrong, Nothing To See Here, Move Along Please when Hytner levelled the misogyny charge, you can double up this challenge by explaining how this review by Nic de Jongh is an example of feminist criticism, or how when you're living in a world in which the most famous line from a half-way recent review is essentially a middle-aged man getting an erection over a Hollywood star, 'Pure Theatrical Viagra', everything's tickety-boo on the power/gender axis.)

Now what's more interesting than Gill's article is the responses. Michael Coveny (second article down) raises himself to below Gill's level by saying he looks gay. Mark Shenton calls him impertinent. Impertinent? How. Very. Fucking. Pompous. Criticising the critics is impertinent unless done by, who? The Queen maybe? Is she allowed?

Lyn Gardner, as ever, is the only person to say anything half-way intelligent.

Now Lyn, along with Maxie Szalwinska, was one of the very few in the critical establishment to respond to Hytner's accusation with anything other than dismissive, contemptuous indignation, and in general she seems pretty up for asking questions about what criticism is for, and whether the critics are doing their jobs. So big credit to her for not partaking in the collective ingestion of the blue pill every time anyone throws up the possibility of the red one.

But she says some immensely depressing stuff.

"...by style I suspect that Gill really means the flip, cynical wit which characterises his own TV and restaurant reviews and which is so beloved by editors. Don't get me wrong, they're a great read, clearly written - like his article on theatre criticism - with provocation in mind. But in my experience only the direst theatre shows with no redeeming qualities lend themselves to that kind of waspish humour. Such writing often showcases the reviewer over the work and while it may be possible to give blackened cod and wilted greens such treatment on a regular basis, my own experience is that when you apply it to the live experience of theatre it has a distorting effect. Funny and fair are often awkward bedfellows."

Now, one thing at a time. Thing one: Whilst it may be true that Gill "really means flip, cynical wit" it's not actually what he says. What he says is "Where are the voices that ring out as being aesthetically intelligent, passionate, current and, most important, entertaining?" There are a few, a very few, and Gardner herself is one of them - her passion for theatre permeates her writing, and when she likes something you can actually feel the thrill that she gets from it rather than the cold, dry, sub-academic categorisation that you'll get from some of the others - but jeez, does anyone really think that these attributes are the norm in critics? Really? Honestly? Anyway, it's true that it's a good thing that everyone's not being all waspish and all, but it seems a little unfair to attack Gill's argument by saying that what he actually means is something different to what he actually said, and that this hidden meaning is a Bad Thing.

Thing the twoth: Lyn seems to be saying that you can't be both entertaining as a writer and fair to the piece. Look, the most famous line in British theatre criticism ever is Tynan's "I could not love anyone who did not wish to see Look Back in Anger" which is a mighty fine example of vibrant, playful, even witty prose that says a hell of a lot, and a hell of a lot good, about the play. Writing can be passionate, articulate, entertaining and truthful, insightful and well argued. In fact, i think you can make a pretty strong case for the likelihood of it being the latter being pretty well correlated with its possession of the former set of attributes. And yes, as Gardner says, it's a really bad thing that reviews are getting shorter, but does she really believe that 300 words leaves little room for "style to swagger"? Style isn't an optional extra that gets tacked on around the edges of the serious writing. It's how the writing itself is written. If you (as Lyn doesn't, but as some of her commenters do) believe that by using an idiosyncratic style you're making the writing about the reviewer and not the play, you're presuming that there is some kind of neutral style in which the reviewer becomes transparent and that the play is a passive object entirely separate from the reviewer. And you're wrong on both presumptive counts.

I can understand why the critics feel the need to close ranks in the face of every attack - many of the arguments used against them are specious and ill-thought-out bitterness from practitioners and they are being squeezed by editors who barely tolerate them. But Hytner and Gill have been met with the same hostility that Ian Shuttleworth was on the end of when he pointed out that a generation of critics was being lost because of the effective tenure of the first-stringers. There is, with the honourable exception of Gardner during the Dead White Males affair, almost no take-up in the opportunity that these moments offer for self-reflection, for self-criticism. Can no one even brook the possibility that the way things are working right now isn't perfect and that the people doing the jobs aren't all doing it in a perfect way? A healthy critical plurality would be debating the issues that have been raised by Gill and Hytner, not just with the provocateurs, but amongst themselves. What we have instead is univocal shouting down of dissent.

5 points and a pie to the first person who can explain why that's a good thing.

* In this context, "busy" means "lazy".

104 comments:

Andrew Haydon said...

Alex, that is an excellent piece. (Although: "credit to her for not partaking in the collective ingestion of the blue pill every time anyone throws up the possibility of the red one" sounds perilously like another Viagra line :-) - I know it's not, but...)

I think the reason it is excellent, however, is that you put the charges clearly and without Gill's window dressing. You display a far greater knowledge of the territory than Gill. You also give examples of critics for whom you have time and don't tar ALL of them with the same brush. I can't remember whether Gill's attack was specifically on 1st stringers or not, but I think to group (as you say) Lyn and Maxie in with Michael (either) and Benedict is just plain silly. For the record, I think variously Kieron Quirke, Brian Logan, Quentin Letts and Charles Spencer all write entertainingly (I know what you think of the latter two, I still think they have their moments). Similarly everyone at the FT writes very well too.

I think your central point is an excellent one, though - that there can and should be a red pill moment for theatre criticism. The problem is, what would it look like, and where would it happen? Does there even need to be a significant shift, now that most interested parties already recognisably vivid alternative discourses in the blogosphere. Yes, there probably does - although it's possibly worth remembering that in cyberspace, no one really imposes a word limit - and I think that's why so much web-based criticism has been so much better; there aren't subs waiting in the wings to cut half a review if someone book half a page of advertising on websites.

Still, it's a conversation worth having. I think there is something inherantly difficult about writing on theatre. It is significant that AA Gill - generally at least a stylish writer, if not always a likeable one - got considerably less stylish in his few recent stabs at theatre criticism...

I think it's to do with the myriad conflicting impulses governing writing on theatre - the most pressing being something like unity of place - or some such. Basically, reviewers are conscious that very very few of their audience will see what they are talking about - it takes years for a theatre to achieve the same audience as one largely ignored, half-watched TV programme. Most don't even try. Similarly, films can open all over the country - plays tend not to (although I reckon the History Boys might give it a try). So there's an initial feeling that there's a lack of a shared perception, which makes it harder to write about something. It's probably worth noting that it's not just the fault of critics that theatre has been down-graded in the cultural pecking order. I was having an interesting conversation with some Culture Clash people (one more left than you, one more right than me, both significantly older) and they mentioned that in their life, and that of their parents theatre actors counted as proper celebrities. Vivian Leigh, Lawrence Olivier, Ralph Richardson, and others. Now that level of recognition is only really granted to TV and film stars. This is to do with a lot of factors - there were less photos, period, in the 1940s. Newspapers were barely illustrated. There wasn't half so much of a visual culture, and people adjusted accordingly. Similarly, there wasn't the same fetish for relevance and accessibility - newspaper editors (and BBC editors for that matter) felt entitled to play God a bit more, and if they wanted to tell people about it, people would jolly well sit up and take notice if they knew what was good for them. The idea of being audience-led seems to have been alien.

So maybe what we're looking at here is a lack of cultural nerve. Writers (in the mainstream media) being made constantly, paranoidly aware of who they're meant to be writing for - and trying to pander to it. Does that sound plausible? I'm not sure it does, but it certainly offers one reason why things like Chris Goode and Andrew Field's blogs are so acute and readable, and why some of the "DWM"s may be less so. Of course, it might also be that they're a) addressing specifically what we're interested in, or b) infinitely better writers.

(I'm running out of steam now)

For the record, the last thing anyone said about my writing was so generous and lovely, and said by someone whose work I am not really fit to presume comment on, that despite being generally extremely self-critical and annoyed with my own writing, I am having an odd couple of days of thinking it might just be OK.

alexf said...

thanks andrew, and sorry for taking so long to respond.

taking the red pill simply means rejecting the comforting fantasy that everything is ok. it's not. Gardner argues that one of the things holding reviewers back is the shortening of the word limit but fails to even acknowledge Gill's claim that word limits are being cut because the writing is boring. Maybe that's the case, maybe it isn't, but it simply isn't enough to lie down and say "theatre reviews are being sidelined and this is a bad thing but also nothing to do with me as a reviewer." Were i a critic i'd be questioning how the case could be made for reviews to have more space, more prominence, more importance. Gill at least attempts an argument about this. It is not in the interests of theatre criticism to close ranks and call him a cunt.

The blogospheriverse does indeed present us with vivid alternative discourses (look ma! we're having a vivid alternative discourse!) but the MSM of theatre reviewing needs to change for the sake of the MSM of theatre reviewing and for the sake of its audience who are poorly served by it, and as a result are (a) small and (b) poorly informed about theatre.

i think the responses to this and the dead white men affair are revealing in their essential dishonesty. All of the first-stringers attacked Hytner for ageism, but he didn't call them old, he called them dead, and that's a much more serious charge.

i don't want to get into all this in too much detail because this post is a genuine part 1, and i will write more about the function of criticism, and the problems and opportunities which surround it. But i think your argument for theatre being unusually difficult to review is very interesting and i'll write more about that when i come to it.

Ian Shuttleworth said...

A very belated one, and perhaps a counsel of despair, but I really think that these storms-in-a-teacup have all been viewed in terms of the critic in relation to the play, to the reader, to the practitioners... none has taken any significant account of the relation to the medium, i.e. the current climate of print journalism. Put simply, the only interest editors have at the moment in anything OTHER than crit-as-entertainment - other than glib flippancy - is to give them justification for claiming to be interested in arts and culture. The only reason for titles to offer other than pap is so they can swank in elegant cultural clothing, and they will cut that clothing as scanty as they can get away with, just enough to cover potential embarrassment, this analogy's going too far, sorry.

It came as a shock but a really remarkably pleasant one a few weeks ago when I got some comments from the editor of the FT about my writing - the first time in 13 years and three editors - and that those comments consisted both of praise and criticism, and that the criticism was advising me to cut down on the "throat-clearing" and do more substantive content. Really, how often do you imagine anyone on an arts page these days gets encouraged to grapple with the subject?

I'm becoming more and more enthused by the blogosphere, having only really woken up to it in the past few months - and always in a quandary whether or not I should blog myself, how it would work in practice given various allegiances - and sometimes quite daunted by the saliency of the material here - but really, in comparing this kind of environment of debate and discourse to that available in print outlets, tchah, you youngsters don't know you're born :-)

Is that going to mean that print criticism will become obsolete for reasons other than those suggested by Gill? Christ, I hope not, I've got a mortgage. But it's precisely not "sparky" writing that's going to save it.

alexf said...

Hi Ian!

i'm not sure it's entirely true that there's been no talk of criticism in relation to its medium. i do think Gill touches on it in his piece, and your point about the lack of contact from your previous bosses surely relates to Alison Croggan's assertion that "there is little material incentive for a critic to be better than mediocre" (http://theatrenotes.blogspot.com/2007/07/critical-life-in-thee-ay-ter.html). But yes, no one has really put it at the centre of their arguments.

On the to blog or not to blog question, if you fancy writing the odd post without the sense of obligation that running a blog creates then you would always be more than welcome to do a guest post here (and i'm sure there's plenty of other people who would host you too if wanted).

Ian Shuttleworth said...

Gill touches on it, yes, but precisely the wrong way round, is my point - he says editors have no reason to give critics any more space or attention when they're so dull, I'm saying any (moot) decline in quality is a function of the marginalisation.

And well, nobody has any *material* reason to be any better at anything than they think they can get away with, whether it's Tim Walker, Damien Hirst, David Hare, whoever - the impulse to excellence, to anything beyond adequacy-for-purpose, is always an internal one. Yes, in many areas, better quality may bring in more money, but that's not an impulse to excellence - it's an impulse to adequacy-for-the-purpose-of-bringing-in-more-money, if you see what I mean.

I'm enjoying commenting right now, albeit sporadically; jury still out on blogging under my own colours. I've suggested it to the FT as an Edinburgh one-off, though...

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