Not actually position papers in the intended meaning of this corner of our site, these snippets do, however, at least suggest positions. They are gathered here after having had their week or two in the home page sun; the dates are when they were posted.
There’s been a spate of recent comments on criticism as chastisement and/or advertising (mainly of books, but we see the connections). For links to pieces by Richard Brody(newyorker.com), Jacob Silverman (slate.com), David Streitfield (nytimes.com), J. Robert Lennon (slate.com) andDwight Garner (nytimes.com), click here.
“Is there a future for criticism?” asked A.O. Scott in the NYT, March 31, 2010. He began:
“TWO weeks ago I went to Atlanta to give a talk at a conference devoted, in part, to ‘The Future of Criticism.’ The gist of my remarks was that there is one.
“This was a contrarian, and perhaps also somewhat self-serving, position to take. After all, the countervailing evidence is hard to avoid… . Variety, the leaky flagship of entertainment reporting, had recently let go of its senior film and theater reviewers … . The loss of print jobs is only one aspect of a dire overall picture… .” For his surprisingly positive comments, click here.
“The future of theater critics and theater criticism seems to have become a popular subject of panels, think pieces, blog posts, and conversations on Twitter,” says Jonathan Mandel. Here’s a nice survey in his New York Theater blog on The Faster Times site: click here.
”Regional theater wasn’t a big turn-on for me when I was a theater student in the late 1980s, early 1990s. Off-Broadway was cool; off-off-Broadway was cooler. Those subscription-based behemoths scattered around the country like giant shopping malls sounded dorky to me… . ” Charles McNulty, theater critic for the L.A. Times, explains how working with Joseph Papp at the N.Y. Public Theater and Emily Mann at the McCarter was good training for a theater critic. June 12, 2011: cllck here.