A Quote by Kenneth Tynan
A good drama critic is one who perceives what is happening in the theatre of his time. A great drama critic also perceives what is not happening.
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At best, the relationship between drama critic and playwright is a pretty twiggy affair. When I'm asked whom I write for, after the obligatory, I write only for myself, I realize that I have an imaginary circle of peers - writers and respected or savvy theatre folk, some dramatic writers and some not, some living, some long gone. . . . Often a writer is aware as he works that a certain critic is going to hate this one. . . . You don't let what a critic might say worry you or alter your work; it might even add a spark to the gleeful process of creation.
If you take a deep breath and look around, 'Look what's happening to me!' can become 'Look what's happening!' And what's happening? The incredible drama of life is happening. And we're in it!
I always loved drama at school. We had a great drama teacher at my secondary school, and she made drama feel cool. She inspired me, and then I did the National Youth Theatre in London.
A drama critic is a man who leaves no turn unstoned.
I owe a great deal to Harold Hobson, doyen drama critic of the 'U.K. Sunday Times,' who championed me as Shakespeare's Richard II at the 1969 Edinburgh Festival.
You find very few critics who approach their job with a combination of information and enthusiasm and humility that makes for a good critic. But there is nothing wrong with critics as long as people don't pay any attention to them. I mean, nobody wants to put them out of a job and a good critic is not necessarily a dead critic. It's just that people take what a critic says as a fact rather than an opinion, and you have to know whether the opinion of the critic is informed or uninformed, intelligent of stupid -- but most people don't take the trouble.
If Attila the Hun were alive today, he'd be a drama critic.
There is less misery in being cheated than in that kind of wisdom which perceives, or thinks it perceives, that all mankind are cheats.
A drama critic is a person who surprises the playwright by informing him what he meant.
Technique is really personality. That is the reason why the artist cannot teach it, why the pupil cannot learn it, and why the aesthetic critic can understand it. To the great poet, there is only one method of music - his own. To the great painter, there is only one manner of painting - that which he himself employs. The aesthetic critic, and the aesthetic critic alone, can appreciate all forms and all modes. It is to him that Art makes her appeal.
Everybody wants to be a critic: a critic without the actual accolades to be a critic.
Drama is hate. Drama is pushing your pain onto others. Drama is destruction. Some take pleasure in creating drama while others make excuses to stay stuck in drama. I choose not to step into a web of drama that I can't get out of.
I'd been gearing up to working in theatre since coming out of drama school, but it was an exciting time for TV drama - it was the birth of Channel 4, and Brookside was very cutting-edge at the time.
I was the first critic ever to win a Tony - for co-authoring 'Elaine Stritch at Liberty.' Criticism is a life without risk; the critic is risking his opinion, the maker is risking his life. It's a humbling thought but important for the critic to keep it in mind - a thought he can only know if he's made something himself.
At the same time the folk boom was happening, the civil rights movement was happening, the anti-war movement was happening, the ban the bomb movement was happening, the environmental movement was happening. There was suddenly a generation ready to change the course of history.
The sincere artist is usually his own best critic, but continuous and prolonged work on one painting will sometimes dull his judgment... The critic is in demand, but he must be competent.
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