Under item two of Goethe’s principles, we stated that you must have a specific yardstick
for measurement. The following may serve as criteria for evaluating the artist’ssuccess in
the theater.
1. Play Writing
Did the play have:
A.
B.
C.
D.
E.
F.
G.
H.
I.
The necessary elements of its genre?
Universal appeal?
Individuality and freshness of style?
Subtle suggestion?
Clear organization with events rising to a strong climax?
Lucid, believable characterizations that arouse audience empathy?
Expressive dialogue?
Unified effect that provides interest through variety and contrast?
Balance of emotional climax and release?
2. Acting
A. Belief. Was each character convincing and believable? Was each true to
the play, the production, and the theatrical conditions? Was the acting
spontaneous (illusion of the first time)?
B. Voice. Were the quality, interpretation, and projection suitable for the
character? Were proper tempo and rhythm achieved in line delivery and
cue pickup?
C. Body. Were gestures, movement, and business motivated, clear, varied,
and appropriate? Was proper stage technique incorporated with ease?
D. Emotions. Was there proper balance between emotion and control? Were
reactions true? Was mood sustained? Were climax achieved?
E. Relationships. Were the proper relationships established among
characters? Was there team work? Ensemble playing?
F. Projection. Did the characters project orally and visually to the audience?
Did they communicate with economy, clarity, control, and conviction?
3. Directing
A. Were all aspects unified and faithful to the author’s purpose?
B. Was stage composition handled effectively and smoothly with proper
emphasis, balance, variety, and contrast?
C. Did rhythm and tempo provide the correct mood, with appropriate climax
and release in each scene and act?
D. Was there correct balance of aesthetic distance and empathy?
4. Staging
A. Set. Did it unobtrusively provide appropriate background and mood for
the play?
B. Lights. Did they establish proper visibility, emphasis, and mood?
C. Costumes and make up. Was each in harmony with the character, period,
mood, and style?
D. Mechanics. Were lights, sound effects, curtains, etc., handled effectively
and on cue? Were scene shifts provided quickly and quietly?
5. Audience Response
A. Was the audience attentive? Interested?
B. Did it respond consistently to the play’s aims—laugh/ cry at proper times?
C. Did it appreciate the dramatic situation? The witty repartee? The beautiful
phrases?
D. Was the applause heartily spontaneous of just polite?
E. During intermission and after the show, did audience members
enthusiastically discuss the play?
Before you use these questions for evaluation, you should be aware of the critic’s
obligation—the ethics of the field. Always respect the following do’s and don’ts.
Do:
1.
2.
3.
4.
5.
Don’t :
1.
2.
3.
4.