Brigham Young University's Theatre Education Database

 Invite the students to talk about their experiences and/or observations at Region Individual Events. This discussion might be best facilitated with prompt questions like, “did you enjoy participating in Region?” “Did anyone see any particularly excellent performances?” “How do you think it went overall, did you have fun, meet people, etc.?”

Step 1: Transition/Instruction: Since we had the opportunity to get some outside criticism on our acting pieces, today we’re going to discuss in-depth how to give and to take criticism.

For the purpose of today, I’ll be focusing on giving and receiving criticism on our acting in our classes or school play. But, I hope you will see how broadly applicable it is for life in how we see other high school’s performances, how we see professional plays or films, or how we interact with non-drama teachers and future co-workers and bosses.

Step 2: Instruction/Modeling: No matter how criticism is given, you should do your best to accept it graciously. You don’t need to give excuses. And, you don’t need to apologize. You don’t need to explain what you were trying to do…obviously it wasn’t working.  And, you do not need to get defensive.

Ask for a volunteer: Suggest to them a mock verbal criticism they could give you, the instructor. “Mrs. Madsen, you really need to work on your diction when you teach.”

Then, give different responses: “I usually have good diction, but today, I was just really tired and I didn’t get enough for lunch.” Or “I am so so so sorry…I’ll really do better next time. I am so embarrassed. Please forgive me.” Or “I was trying to demonstrate why you need to use good diction…I guess it didn’t work.” Or “Well, why don’t you work on your diction!” or “Thank you. I will take your comment into consideration.”

Step 3: Assignment: Spend a moment going over your region results; if you were not able to participate in Region, team up with a partner who does have a ballot and look over your scores and your criticism. Write a paragraph about what you can learn from your results even if you don’t agree with them. The paragraph needs to be 7 to 10 sentences long, and you need to be sure to include how you can learn from each criticism whether you agree or not. If you did not participate in Region, pretend that you were the one who received the criticism. What does it mean if one judge gave you a good and another a superior?

Step 4: Instruction: How many of you enjoy receiving criticism? Why or why not?

Has any one had an experience when they were given criticism in a very kind way…a very unkind way?

Before we get more in-depth in that often the timing of criticism has as much to do with when it is given as how it is given.

Quick quiz: When is the best time to give criticism?

1. In the middle of the performance
2. When the person is not present
3. After you have complimented it

Criticism coupled with genuine compliments and encouragement are taken much more constructively

Have you ever heard of someone giving criticism in the middle of a performance. Before I go on, I want to make the distinction of “working a scene” and “previewing or performing a scene.” I have often worked with you all and stopped you mid- performance and then restarted you. This is acceptable from your instructor or director; however, unless given permission by your peers, don’t do this to your peers. Also, no one needs you to express for the rest of us how much you like or dislike something in the middle of a performance. A few years ago at BYU, the University had invited an important political figure, Helen Thomas (a very important, influential member of the press, known for her coverage of the presidents of the United States) to the University to give a speech. Since many of the students didn’t agree with the political views of this person, they felt it was appropriate to “boo” her during her speech. What kind of message did this send about those students at BYU who were “expressing their freedom of speech”?

Bottom line: during a performance, BE POLITE. You know how incredibly difficult it is to be on stage, so save your criticism for the proper time and place. (Also, I know we aren’t discussing criticism of plays, but when you are not in an instructional setting and have not been asked your opinion, save your criticisms until you are out of the theatre.)

Step 5: Instruction: What is giving criticism when a person is not present called? Backbiting. Talking behind the back. Etc.

Right now, we are strictly speaking about the acting in class. Things get around! It is far better to keep criticism of your peer’s performances to yourself or during the proper time. It is amazing how things get around, and how detrimental a comment like that could be.

Step 6: Instruction: Remember, there is a time and a place for giving criticism. The best time to give criticism is at the invitation of the class instruction. And, even within that time, an appropriate format is given.

When the floor is opened up to peer review use the following order.

1. State your observations. Be careful not to hide your judgments within your observations. (Good observation include I noticed you selected a blue dress for your character. I noticed you deepened your voice during this particular moment. Etc.)
2. Talk about what you like…be specific. (I liked how your use of voice helped show the mood of the character for example in the moment of fear you
3. Suggestions for improvement. (Your performance would go even better if you worked on your diction, specifically, I had difficulty hearing your consonants…just try punching your p’s, t’s, d’s, etc. You might consider sitting down instead of staying standing during “X” moment.) Often, you can phrase these in questions: “Why did you pick a blue dress?” And, you might ask specific permission, “I have a comment on your accents.” “I would rather not hear it; we are getting a dialects coach next week.”

DON’T

Use vague emotional responses…or at least push beyond them. Avoid simply saying “I liked it…or I hated it.” Ask yourself WHY…really analyze how you think your peer could do better.

Separate the criticism from your ego. You shouldn’t include a piece of criticism just to bother someone or get back at someone or to give you any kind of pleasure (besides the pleasure of helping someone).

Don’t stroke the ego of who you are criticizing. Just as much as you shouldn’t ruin someone’s confidence, you can’t give them a false sense of security.

Step 7: Group practice: Divide the class into groups of two or three. Each group will need to create a scenario where criticism is given; the scenario can be after an acting perform, but students can make up their own scenario. Encourage the students to make it more difficult by creating a scenario that the criticism comes from peers. Friend to friend, boyfriend to girlfriend, etc. The students should act out the scenario giving criticism and taking criticism negatively, and then the students should act out the same scenario but follow the format. These will be performed for the class. These should be no longer than 2 to 3 minutes.

Note: This lesson is designed to be the class period after a class has competed in Region Drama Competition. This lesson will be most effective if students have their ballots from the events. Begin class by watching the performances from students who were ineligible to perform at the actual region competition.