Terry Teachout
Terry Teachout
Terry Teachoutis an American critic, biographer, librettist, author, playwright, and blogger. He is the drama critic of The Wall Street Journal, the critic-at-large of Commentary, and the author of "Sightings," a column about the arts in America that appears biweekly in the Friday Wall Street Journal. He blogs at About Last Night and has written about the arts for many other magazines and newspapers, including the New York Times and National Review...
NationalityAmerican
ProfessionCritic
Date of Birth6 February 1956
CountryUnited States of America
Critics at their best are independent voices; people take seriously their responsibility to see as many things as they can see, put them in the widest possible perspective, educate their readers. I really do think of myself as a teacher.
Unlike film and TV, theater is a luxury object, but one that ordinary middle-class people can still afford. Above all, it isn't a mass medium: Live theater is a small-scale, handmade art form. Intimacy is what makes it special.
No, I don't know how to get young people to start listening to jazz again. But I do know this: Any symphony orchestra that thinks it can appeal to under-30 listeners by suggesting that they 'should' like Schubert and Stravinsky has already lost the battle.
The backstage play, in which the private lives of theater people are put onstage for the world to see, is one of the diciest of dramatic genres.
It's certainly no secret that American students are taught less and less about the canonical literary masterpieces of the past, and there is no shortage of people who believe that what little they're required to learn in school is still too much.
As late as the early '50s, jazz was still, for the most part, a genuinely popular music, a utilitarian, song-based idiom to which ordinary people could dance if they felt like it.
A play is not a play until it's performed, and unless it's a one-person play that is acted, directed and designed by the author, many other people will be deeply involved in the complicated process that leads to its performance.
Nowadays, most educated people would just as soon stay home and watch 'Breaking Bad' as shell out a hundred bucks to see a Broadway play - assuming that there are any plays on Broadway worth seeing, which long ago ceased to be a safe bet.
I know that luck has a way of happening to people who shoot high, who never sell themselves short.
What's the funniest play ever written? I used to think it was 'Noises Off,' but now that I've seen 'The Liar,' I'm not so sure.
What is true of ballet is no less true of the other lively arts. Change is built into their natures. You watch a performance, and then... it's gone.
The smaller newspapers probably won't have any critics at all. Maybe that's not such a bad thing because there's a certain level of seriousness that you can't get with a small newspaper for critics.
The script of a play is not a finished product: It's a set of instructions.
Anna Deavere Smith's new one-woman show bills itself as being about health care, but the truth is that 'Let Me Down Easy' is mostly about the grimmer subject of death and dying.