It is October 2016, and I am sharing a stage at Trinity College Dublin with Peter Crawley of the Irish Times. We are talking about theatre criticism, and I want to make a point about the way every critic—and indeed every member of the audience—sees a show in a slightly different way.
To illustrate my argument, I leave my seat, climb the raked auditorium to the back row and sit next to a student. I expect her to cringe in embarrassment and everyone else to laugh. At that point, I plan to point out that this student’s experience is necessarily different from everyone else’s. For her, the performance would be uncomfortable; for everyone else, it would be fun.
Except she does nothing of the kind. She holds my gaze and remains relaxed. If she is uncomfortable, she is not showing it. I stumble on regardless, trusting my return trip down the aisle will demonstrate how a performer’s proximity can change the way we feel. [READ MORE]