Through the supportive structure of its four core steps, Critical Response Process combines the power of questions with the focus and challenge of informed dialogue. The Process offers makers an active role in the critique of their own work. It gives makers a way to rehearse the connections they seek when art meets it audience or a product meets its purpose. Critical Response Process instills ways of thinking, communicating and being that enhance all kinds of human interactions, from coaching to community dialogue, from artistic collaboration to family conversations.
|Published (Last):||7 January 2008|
|PDF File Size:||7.55 Mb|
|ePub File Size:||1.45 Mb|
|Price:||Free* [*Free Regsitration Required]|
Every so often, I read a blog post about how to listen to criticism. More rarely do I run across suggestions for how to give feedback. Let me clarify that. Rarely do I run across suggestions for giving criticism that I find satisfying.
But is that it? We have a specific way of criticizing our plays that has kept us on track. The method was developed by the MacArthur winning choreographer Liz Lerman to work with dancers. Lerman calls it Critical Response Process. The technique works for any sort of art, any writing. In our group, we call it the Lerman Method.
The process has four steps. Statement of meaning by the group Questions by the writer for the group Questions by the group for the writer Opinions I use the word group here, but the method works just as well one-on-one. It works in person or in correspondence. It works with any written form or genre. Also, the order is important. Opinions are the least helpful. You just say what you found meaningful, evocative, startling, or exciting in the work.
I split my sides laughing. When he said. You told me everything I needed to know, and left the rest to my imagination. How can they help but be? Beginning with positives has nothing to do with politeness or with sugarcoating bad news. Focused on the problems, they discount what comes easy. I went to a film once and cried. I thought it was a great film. Afterward, I read a critical review and learned all the things that the filmmaker had done wrong. I felt tricked. I began to talk it down.
One of the other playwrights in my group happened to ask me about the film. I told her the whole story. You had a real response to it. It was important and genuine to you. It was wordless, like a house burning, or an earthquake or a flood, or a woman getting out of a car, showing her legs. I was locked into my own habits, my own prejudices. Step 2: Questions from the writer The writer asks, the group responds. This begins a dialogue that supports the writer in solving problems on her own.
Step 3. Questions from the group members The group asks, the writer answers. Oh, I almost forgot. Out of time. Got to run. You can read his essay the first half of it, anyway about what open drop ether was like in The Sun Magazine: Going Under.
He believes there are interesting ways to write about fathers and sons that do not involve charming videos, recommended products, or opinions about child rearing. In addition to being a columnist with Publishers Weekly and a professor with The Great Courses , Jane maintains an award-winning blog for writers at JaneFriedman.
The Critical Response Process is a process for receiving constructive feedback in a supportive group in which participants are assigned specific roles. Whether returning to the studio, the desk, the kitchen, or the laboratory, CRP gives tools both to people who are making work and people who are responding to that work. In use for over twenty years, CRP It has proven valuable for all kinds of creative endeavors, work situations, and collaborative relationships within and beyond the arts. Through developing this process, Lerman realised that by raising concerns through questions and the context they established, they encounter no defensive resistance.
Liz Lerman's Critical Response Process
4 Steps to Useful Critiques: The Lerman Method
Critical Response Process