A Quote by Dana Gioia
Paradoxically, the simpler poetry is, the more difficult it becomes for a critic to discuss intelligently. Trained to explicate, the critic often loses the ability to evaluate literature outside the critical act. A work is good only in proportion to the richness and complexity of interpretations it provokes.
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The critical sense is so far from frequent that it is absolutely rare, and the possession of the cluster of qualities that minister to it is one of the highest distinctions... In this light one sees the critic as the real helper of the artist, a torchbearing outrider, the interpreter, the brother... Just in proportion as he is sentient and restless, just in proportion as he reacts and reciprocates and penetrates, is the critic a valuable instrument.
Critical thinking does seem a superior sort of thinking because it seems as though the critic is actually going beyond the scope of what is being criticized in order to criticize it. That is only rarely a true assumption because, most often, the critic will seize on some little aspect that he or she understands and tackle only that.
I have often read critical pieces where the critic said that what the composer was trying to do didn't come off. I have wondered what the critic meant if he didn't know what the composer was trying to do.
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.
Everybody wants to be a critic: a critic without the actual accolades to be a critic.
Except that it’s not really 'now' that the inner critic attacks. It’s a few seconds or a minute ago. The inner critic depends upon comparison, and when we are fully aware in the present moment, when there is no past or future in our mind’s awareness, there is nothing to compare. There is only what is, as it is. The inner critic disappears.
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.
To handle yourself, use your head; to handle others, use your heart. Anger is only one letter short of danger. If someone betrays you once, it is his fault; if he betrays you twice, it is your fault. Great minds discuss ideas; average minds discuss events; small minds discuss people. He who loses money, loses much; he who loses a friend, loses much more; he who loses faith, loses all.
When a critic sets himself up as an arbiter of morality, a judge of the matter and not the manner of a work, he is no longer a critic; he is a censor.
I have always been a critic of government policy. I was in government for more than five years. Before that I was a critic. Within the government I was a critic, pushing for reform and always at odds with power brokers within the party.
One of the best and most challenging books about Orwell is by the socialist literary critic Raymond Williams. As a critic - and, in some ways, as a figure, at least within the academy - Williams was what England had in the generation after Orwell, and toward the end of his life, he became more critical of his predecessor.
Your harshest critic is always going to be yourself. Don't ignore that critic but don't give it more attention than it deserves.
Your harshest critic is always going to be yourself. Don't ignore that critic, but don't give it more attention than it deserves.
Never discuss Scientology with the critic. Just discuss his or her crimes, known and unknown.
I learned more in the rehearsals for 'The Letter' than I have ever dreamed of know in the theater as a critic. If it doesn't make me a better critic, I'm an idiot.
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.
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