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
Useful though they are, the vast majority of dictionaries and encyclopedias are poker-faced pieces of work that stick to the facts and present them as soberly - and unstylishly - as possible.
It may well be, of course, that America's pop culture is on balance better than our high art. I don't think so, but you can certainly make a case that the best of it aspires to a degree of aesthetic and emotional seriousness that is directly comparable to all but the very greatest works of high art.
Whether they know it or not, most American playgoers owe an incalculably great debt to translators. Were it not for their work, comparatively few of us would be able to enjoy the plays of Chekhov, Ibsen or Moliere.
Copland was the first important American classical composer to go to work for Hollywood.
Just as most of us prefer to watch a trapeze artist work without a net, we like to be absolutely sure that a virtuoso is giving us our money's worth, and a seemingly effortless performance, no matter how spectacular it may be, deprives us of that slightly sadistic thrill.
Not only are most of our citizens fathomlessly ignorant of the glories of American literature, a fast-growing percentage of our students are no longer taught much about any works of American art, be they novels, paintings, symphonies or ballets.
I'm not rigid about directorial changes: I judge them on a case-by-case basis. In the case of a play whose text is widely familiar, I'm open to drastic changes that may alter the author's meaning, perhaps even considerably. If the results don't work, then I say so.
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.
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.
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.
Samuel Beckett's estate will not license productions of his plays that are not performed as written.