In Autumn 2015, I read an open-access volume of collected essays by scholars working across a range of fields called How We Write. They reflected on their critical practice in relation to the subjects they write about, where they work best, how they motivate themselves, what exercises they use and who they talk to. The essays ranged from theoretical pieces to longitudinal Facebook updates. If it sounds like academics talking about being academics, it was, but there was some valuable contemplation about process and inspiration which crosses disciplines [you can read the anthology for free (and/or donate) here].
I started to think about how this type of sharing could be reconfigured when writing critically about live performance. There are lots of ongoing public interventions opening up our discipline, such as Dialogue Theatre Club, Something Other, Reading the Internet, young critics collectives, the many blogging republics which have…
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