Just like how the Berger and Barnet readings helped us to “see art”, the Wendy Oliver readings taught us how to write good dance critiques. Chapter 4 first introduces a critique as a “thoughtful discussion and analysis”. On a deeper level, it focuses on the Feldman Model of Criticism, which consists of four components: description, analysis, interpretation and evaluation. The description is about the different components of the work and the analysis shows how these parts fit in with each other. In the interpretation, the critic explains the meaning and in the evaluation, s/he gives his/her own opinion of the work.
Oliver goes on to mention construction and language. Although these can apply to almost any writing in general, she gives many examples of these techniques pertaining to dance critiques. She also provides a suggested format, a rubric, a checklist, and even a sample piece at the end, which is helpful. We are able to see these characteristics in “Icy White Synapses in a Crackling Heat: Liz Gerring Dance Offers Mirrorlike Illusions in ‘Glacier’” by Alastair Macaulay.
Already, from the beginning, Oliver organizes her dance review well. She starts off with her thesis statement: ““Glacier,” an enthralling and important new dance work lasting 60 minutes, by the choreographer Liz Gerring, abounds in arresting contradictions.” Some other topic sentences of note are “Entrances and exits are lively ingredients of Ms. Gerring’s style.” and “Another beauty of the Gerring style is the keen focus she gives to her dancers.”, which often start of the body paragraphs. Regardless, they are all followed by supporting details.
For example, in the first paragraph, Oliver describes the way the dancers move. She analyzes the many contradictions: formal vs. informal, natural vs. practiced, wit vs. quirkiness, and passion vs. emotionalism. She inserts her own interpretation in the second paragraph when she writes about dancing in both the main stage area and visible wing space. To her, this represents “breaking down boundaries and worlds.” There is also a statement of evaluation in the 4th paragraph where she writes “I have admired Benjamin Asriel in works by several contemporary choreographers”. However, for the most part, evaluation is implied by the many positive adjectives she uses such as “enthralling”, “fascination”, “absorbing”, and “moving”.
Lastly, there is powerful language interspersed throughout the dance critique. This can already be seen in the first paragraph where she uses descriptive verbs such as “hurl”, “skim”, and “push”. Oliver also inserts a few similes such as “its moods change like the weather” and “The main area is backed by a single white board, like a blank cinema screen”, which help us imagine the tone and setting of the piece. Using the techniques mentioned above, Alastair Macaulay writes a strong review making me want to see the performance.
~Erica Kwong (Blog B)
