Canadian theatre laboratory requests your help.
Donovan King | 27.05.2002 17:46
This is an open letter to the Canadian theatre Critics Association, requesting that they investigate unscrupulous theatre critics who literally destoyed a show in the Montreal area last year. We are asking all theatricians in the UK to spread the word. For full details on the scandal, see otl.20m.com - PROJECTS - CAR STORIES. Please FWD widely!
Dear Canadian Theatre Critics Association,
I am enclosing a copy of our meta-play, CAR STORIES: What have you heard? for your examination. The reasons I am sending this to you are numerous.
Firstly, I would like to make you aware of a new form of theatre (Optative Theatre – see otl.20m.com for details) that is often misunderstood, but is making waves in the Canadian theatre community. Please educate the critics you have influence over in order to avoid potential mishaps, such as the ones that occurred here in Montreal over the last year.
Secondly, your association would seem to be the only one governing theatre critics in Canada, and as such I am hoping you can demonstrate some accountability for severe abuses to your Code of Ethics by various Montreal theatre critics, past and present. These notably include Gaetan Charlebois and Pat Donnelly (who have both since been replaced,) and Amy Barratt (who is still writing for The Mirror.) Please allow me to refresh your memories as to what your own Code of Ethics actually says:
CTCA Code of Ethics:
Critics' ethics are based on consideration for others, just as any code of civilized behaviour. The Canadian Theatre Critics Association accepts the premise that its members are dealing with contributions to the public by artists and technicians who have worked long and hard on their presentation. It is thus agreed that while such considerations must not inhibit the reviewer in any honest estimate, is does presume respect for the contributors' efforts. Membership in the CTCA offers no license to insult, ridicule or denigrate artists who are serious about their work.
· It is expected that critics be as objective as possible to achieve a balanced review. Comments on past performances or remarks on physical attributes of performers are justified only when and if the critic can establish a direct relevance to the production under consideration for description, interpretation, analysis and estimate. The production seen should be the production reviewed.
· The critic should, whenever possible, prepare in advance of a performance. This includes reading all program and advanced material provided by the producing group. Reading a new script before attending its performance is optional but advisable.
· The critic should attend the entire performance reviewed. If a critic must leave a performance early because of a deadline, this should be mentioned in the review.
· The critic should behave in an unobtrusive manner, causing no distraction to audience members and performers. Arrangements for suitable seating should be made privately with decorum.
· The critic should give full consideration and attention to all elements of a production. The work of supporting players, designers, musicians, and technicians is important, as well as that of leading players, director and author.
· The critic should not under any circumstances exploit his or her position.
I must confess that I am pleased, as a very serious and dedicated independent theatre artist that your Association aspires to such lofty and noble ideals and guidelines. However as you can see by the meta-play we have enclosed, the abovementioned critics have not respected your Code of Ethics at all. Numerous abuses include: insisting a show be ejected from a festival by wielding conflict-of-interest sponsorship, failure to interview all concerned parties in this important story, false reporting including defamation and slander, refusal to investigate and report on grievances which affect hundreds of local, national, and international artists, and consequently the chilling exploitation of position.
In conclusion, I am hoping your organisation will not only investigate, but will strengthen guidelines and create a system of accountability for critics who abuse their positions in future. Please note that we would like a response from your organisation regarding the issues we have brought up. While you suggest that “membership in the CTCA offers no license to insult, ridicule or denigrate artists who are serious about their work,” the abovementioned critics took that derogatory license to attack and defame us. Is the CTCA going to do anything about it?
Please feel free to call me at any time at (514) 842-1467 should you have any questions or concerns. I thank you.
Sincerely,
Donovan King, Artistic Facilitator
I am enclosing a copy of our meta-play, CAR STORIES: What have you heard? for your examination. The reasons I am sending this to you are numerous.
Firstly, I would like to make you aware of a new form of theatre (Optative Theatre – see otl.20m.com for details) that is often misunderstood, but is making waves in the Canadian theatre community. Please educate the critics you have influence over in order to avoid potential mishaps, such as the ones that occurred here in Montreal over the last year.
Secondly, your association would seem to be the only one governing theatre critics in Canada, and as such I am hoping you can demonstrate some accountability for severe abuses to your Code of Ethics by various Montreal theatre critics, past and present. These notably include Gaetan Charlebois and Pat Donnelly (who have both since been replaced,) and Amy Barratt (who is still writing for The Mirror.) Please allow me to refresh your memories as to what your own Code of Ethics actually says:
CTCA Code of Ethics:
Critics' ethics are based on consideration for others, just as any code of civilized behaviour. The Canadian Theatre Critics Association accepts the premise that its members are dealing with contributions to the public by artists and technicians who have worked long and hard on their presentation. It is thus agreed that while such considerations must not inhibit the reviewer in any honest estimate, is does presume respect for the contributors' efforts. Membership in the CTCA offers no license to insult, ridicule or denigrate artists who are serious about their work.
· It is expected that critics be as objective as possible to achieve a balanced review. Comments on past performances or remarks on physical attributes of performers are justified only when and if the critic can establish a direct relevance to the production under consideration for description, interpretation, analysis and estimate. The production seen should be the production reviewed.
· The critic should, whenever possible, prepare in advance of a performance. This includes reading all program and advanced material provided by the producing group. Reading a new script before attending its performance is optional but advisable.
· The critic should attend the entire performance reviewed. If a critic must leave a performance early because of a deadline, this should be mentioned in the review.
· The critic should behave in an unobtrusive manner, causing no distraction to audience members and performers. Arrangements for suitable seating should be made privately with decorum.
· The critic should give full consideration and attention to all elements of a production. The work of supporting players, designers, musicians, and technicians is important, as well as that of leading players, director and author.
· The critic should not under any circumstances exploit his or her position.
I must confess that I am pleased, as a very serious and dedicated independent theatre artist that your Association aspires to such lofty and noble ideals and guidelines. However as you can see by the meta-play we have enclosed, the abovementioned critics have not respected your Code of Ethics at all. Numerous abuses include: insisting a show be ejected from a festival by wielding conflict-of-interest sponsorship, failure to interview all concerned parties in this important story, false reporting including defamation and slander, refusal to investigate and report on grievances which affect hundreds of local, national, and international artists, and consequently the chilling exploitation of position.
In conclusion, I am hoping your organisation will not only investigate, but will strengthen guidelines and create a system of accountability for critics who abuse their positions in future. Please note that we would like a response from your organisation regarding the issues we have brought up. While you suggest that “membership in the CTCA offers no license to insult, ridicule or denigrate artists who are serious about their work,” the abovementioned critics took that derogatory license to attack and defame us. Is the CTCA going to do anything about it?
Please feel free to call me at any time at (514) 842-1467 should you have any questions or concerns. I thank you.
Sincerely,
Donovan King, Artistic Facilitator
Donovan King
e-mail:
optatif@excite.com
Homepage:
otl.20m.com