Overview
Performers give their best on stage and backstage to delight the audience, and in return they expect certain things from the audience: attention, respect, appreciation at the right moments, and honest, kind feedback after the show. This chapter, the last of the Class 8 Theatre section, turns students from performers into thoughtful spectators and reviewers. It begins with the duties of a good audience member: watching and listening with full attention, not talking, fidgeting or using phones, applauding at the right time, reacting kindly and appreciating the effort behind the show. It connects this to the Nāṭyaśāstra's chapter on siddhi, the success of a performance, which says that the audience shows appreciation in two ways — through words and exclamations, and through the body, such as clapping, standing up and giving gifts. The chapter then explains what a review is, why it is about appreciation as much as criticism, and the three kinds of review: self-review, peer review and critical review. Students learn how to prepare before watching a play, what to observe during it — acting, set, costume, lights and sound, story, flow and the handling of errors — and the rules and structure for writing a fair, well-argued review of about 300 words. Finally, they practise reviewing from photographs, reading a review aloud, and accepting reviews of their own work with the same fairness they show others.
हिंदी में पढ़ें
कलाकार दर्शकों को प्रसन्न करने के लिए कड़ी मेहनत करते हैं — पर दर्शकों का कलाकारों के प्रति क्या दायित्व है? यह अध्याय आपको कलाकार से एक विचारशील दर्शक और समीक्षक बनाता है। आप अच्छे दर्शक के शिष्टाचार सीखेंगे — फ़ोन बंद करने से लेकर सही समय पर तालियाँ बजाने तक — और जानेंगे कि नाट्यशास्त्र ने दर्शकों की वाणी और शारीरिक प्रतिक्रियाओं के माध्यम से प्रस्तुति की सफलता का वर्णन कैसे किया। फिर आप सीखेंगे कि समीक्षा क्या है, उसके तीन प्रकार — स्व-समीक्षा, सहकर्मी समीक्षा और आलोचनात्मक समीक्षा — नाटक देखने से पहले कैसे तैयारी करें, देखते समय किन बातों पर ध्यान दें, और लगभग 300 शब्दों की निष्पक्ष, रहस्य न खोलने वाली समीक्षा कैसे लिखें। अंत में आप देखेंगे कि दूसरों की समीक्षा करना आपको बेहतर कलाकार कैसे बनाता है।
Learning Objectives
- List the duties of a good audience member and explain why audience behaviour affects a performance.
- Explain the Nāṭyaśāstra's idea that appreciation is expressed vocally and physically.
- Define a review and explain why reviewing is not only fault-finding.
- Distinguish between self-review, peer review and critical review with examples.
- Prepare to watch a play by researching its playwright, genre and performing team.
- Observe and note acting, design, lights and sound, story, flow and the handling of errors during a performance.
- Write a balanced, justified, spoiler-free review of about 300 words using a clear structure.
- Give and receive reviews fairly and use them to improve one's own work.
Topics in this chapter
9 topics · tap a topic title to jump straight to it.
Why the audience matters
1Think first
2The idea, in plain words
Throughout the Theatre section you have worked as performers and backstage crew, putting in weeks of effort so that the audience would enjoy the show. But theatre is a two-way relationship. A play is not complete until it meets its audience, and the audience shapes the performance as much as the actors do.
Think about how you felt during your own class production. You wanted people to pay attention, to laugh at the funny moments, to be moved at the sad ones, to clap at the end, and to tell you afterwards what they liked. You also hoped nobody would chat loudly, walk in and out, or wave a glowing phone in the dark. These expectations are fair, and when you sit in the audience, others have the same expectations of you.
Why audience behaviour affects a performance:
- Live energy. Actors feel the audience's attention. A focused, responsive audience lifts the actors' energy; a restless one drains it.
- Concentration. Actors must remember lines, cues and movements. A sudden noise, a ringing phone or a flash photograph can break their concentration and cause a mistake.
- Other spectators. Each person in the hall has come to enjoy the show. Small distractions spoil the experience for everyone around.
- Respect for effort. A performance represents weeks or months of work by many people, most of whom you never see. Attentive watching honours that effort.
In earlier classes you were told that watching performances makes you a better performer. That remains true: you learn about voice, timing and staging by watching others. Now, in Class 8, you are asked to go further and understand your responsibility as a spectator — for theatre, and for every performing art, whether a music concert, a dance recital, a puppet show or a street play.
An Indian tradition. In classical music concerts in India, listeners call out ‘Wah!’ or ‘Kyā bāt hai!’ at a beautiful phrase, and in Carnatic concerts they keep tāla with their hands. These are signs of an engaged, knowledgeable audience — and they show that appreciation, too, has its right time and form.
When you sit in the audience, you are as important to the performance as the actors on stage.
- Theatre is complete only when performers meet an audience.
- Audience behaviour affects actors' energy, actors' concentration, other spectators' experience and respect for effort.
3Worked example
- During a school play, a phone rings in the front row and the actor loses her line for a moment.
- At a Hindustani classical concert, a listener's ‘Wah!’ at the end of a fine tān encourages the singer.
- A street play in a market draws more energy from the crowd when people stop, watch and respond.
4Your turn
Why does audience behaviour matter in a live performance?
5Remember this
Audience etiquette: the dos and don'ts
1Think first
2The idea, in plain words
Etiquette means the accepted rules of polite behaviour in a particular setting. Audience etiquette has a few simple rules: what to do (attend, applaud, appreciate, congratulate, offer help) and what not to do (disrespect the performers or distract anyone).
Before the show
- Arrive on time. Entering after the play has begun disturbs actors and spectators. If you are late, wait for a scene break or an usher's signal.
- Switch off or silence your phone completely; even a glowing screen is distracting in a dark hall.
- Use the washroom, finish snacks and settle in before the lights go down.
During the show
- Watch and listen with full attention.
- Do not talk, whisper, fidget or rustle packets. Save comments for the interval.
- No photos or videos unless the organisers allow it; flash can blind actors and break the mood.
- Do not put your feet on seats or kick the seat in front.
- Leave only in an emergency and do so quietly.
- React naturally and kindly: laugh at comedy, stay silent at tense moments. Never mock or jeer at a performer, even if something goes wrong.
Applauding at the right time
- In a play, applaud at the end, at the curtain call, and sometimes after a particularly brilliant song or scene when the audience naturally responds.
- Do not clap in the middle of a quiet emotional moment.
- A standing ovation — rising to clap — is the highest compliment, kept for an outstanding performance.
- In Indian classical concerts, short appreciative words at the end of a phrase are part of the tradition, but not during a slow ālāp where silence matters.
After the show
- Congratulate the performers and crew, especially at a school or community show.
- Offer specific appreciation: ‘The scene with the puppets was magical.’
- Offer help if needed, for example in clearing chairs at a school event.
- Leave the hall clean.
How to judge yourself as an audience member: after the next performance you attend, ask whether anyone near you was disturbed by you, whether you applauded at the right moments, and whether you told at least one performer what you appreciated.
- Do: arrive on time, silence phones, attend fully, react kindly, applaud at the right time, congratulate, offer help.
- Don't: talk, fidget, use phones or flash, mock performers, leave noisily.
3Worked example
- A student arrives late to the annual day and waits at the door until the scene ends before finding a seat.
- When an actor's moustache falls off, the audience stays quiet and the actor continues, instead of the hall bursting into mocking laughter.
- After a dance drama, a student tells the lead dancer that her expressions in the rain scene were beautiful.
4Your turn
Which of these is good audience etiquette at a play?
5Remember this
The Nāṭyaśāstra on success: how appreciation is expressed
1Think first
2The idea, in plain words
The spirit of good audience behaviour is described more than two thousand years ago in the Nāṭyaśāstra. Its twenty-seventh chapter deals with siddhi, the success or accomplishment of a performance, and with how the audience's response shows that a performance has succeeded. One verse sets out the plan:
daśāṅgā mānuṣī siddhir daivikī dvividhā smṛtā |
nānāsattvāśrayakṛtā śārīrī vāṅmayī tathā ||
(Nāṭyaśāstra 27.3)
In simple words: success is of two kinds, human (mānuṣī) and divine (daivikī). Human success has ten features and divine success has two. These features arise from the various feelings of the spectators and are expressed both through the body (śārīrī) and through speech (vāṅmayī).
Two channels of appreciation.
| Vocal (vāṅmayī) | Physical (śārīrī) |
| Words of praise such as ‘sādhu’ (well done) or ‘aho’ (wonderful) | Clapping and applause |
| Laughter at comic moments; exclamations of sympathy at sad ones | Thrill and goosebumps; tears |
| In our time, also written praise and reviews | Standing up after the show as a mark of respect |
| Speaking to the performers afterwards | Offering gifts or flowers |
The human success features are the visible and audible reactions of an ordinary audience, such as smiles, laughter, cries of ‘well done’, thrill, and rising from the seat. Divine success is a higher state in which the performance is so absorbing that the hall is completely still and full, without any noise or disturbance — the audience is lost in the experience.
What this means for you. The Nāṭyaśāstra treats the audience as a partner whose response completes the performance. It also shows that appreciation has many forms. Clapping is only one; a respectful silence during a moving scene is also a form of appreciation, and so is a thoughtful word to the performers afterwards.
Of the two channels, this chapter focuses on one modern form of the vocal channel: writing about the performance, so that others can read about it and understand its strengths and spirit. That piece of writing is called a review. A good review should be so vivid that the reader feels they are watching the performance again.
- Nāṭyaśāstra 27: siddhi (success) is mānuṣī (human, ten features) and daivikī (divine, two features).
- Appreciation is expressed vāṅmayī (through speech, exclamation, writing) and śārīrī (through the body: clapping, standing, gifts).
3Worked example
- At the end of a powerful scene in a school play, the hall falls completely silent before bursting into applause — both are signs of success.
- A listener at a concert says ‘sādhu, sādhu!’ or ‘wah!’ after a fine phrase — vocal appreciation.
- A chief guest rises and claps, and the whole audience follows with a standing ovation — physical appreciation.
4Your turn
According to the Nāṭyaśāstra, appreciation of a performance is expressed —
5Remember this
What is a review?
1Think first
2The idea, in plain words
A review is a piece of writing (or speech) that describes and evaluates a performance, product or experience, so that others can understand its elements and spirit. More precisely, reviewing is the process of thoughtfully observing, reflecting and giving feedback. It involves looking closely at:
- what worked well,
- what could be improved, and
- how effectively the goal was achieved.
Reviews are not limited to theatre. People review books, films, music albums, dance concerts, paintings and exhibitions, restaurants, mobile phones and other products, school projects, and even sports matches, where commentators analyse a team's performance. Every time you read a film review in a newspaper or the star ratings of a product online, you are reading a review.
Reviewing is not fault-finding. A good review appreciates strengths, notices details others may have missed, and offers suggestions. A review that only lists mistakes is unhelpful and unfair; a review that only praises is also unhelpful, because it gives no direction for growth. The aim is to help the performers improve and to help readers understand and decide whether to watch.
Reviewing in theatre is a special skill. A theatre reviewer does not only watch the story. They pay attention to how well the actors perform, how clearly the story is told, the use of voice and movement, costumes, lighting and sets, and how all these come together. It is about celebrating what made the performance powerful and suggesting how it could connect even more deeply with the audience.
What reviewing builds in you:
- a careful observer who notices details,
- a sensitive listener who hears tone and feeling,
- a respectful communicator who can express judgement kindly and clearly,
- and a critical thinker who supports opinions with reasons.
These skills help in every subject — in analysing a poem in English, evaluating a source in History, or checking an experiment in Science.
A theatre review usually answers: What was the play and who performed it? What was it about, without spoiling surprises? What stood out in the acting, direction and design? What could be better? Would you recommend it, and to whom?
Did you notice? The circle time discussion you have held after every chapter is itself a kind of review: you looked back at an activity, said what worked and what you would change.
- Reviewing = thoughtfully observing, reflecting and giving feedback.
- Three questions of a review: what worked well, what could be improved, how well the goal was achieved.
3Worked example
- A newspaper review of a Marathi play praises the lead actor's comic timing but finds the second half too long.
- A sports commentator's post-match analysis of a cricket team's fielding is a review of a performance.
- A student's review of a classmate's science model notes its clear labels and suggests a sturdier base.
4Your turn
Which statement best describes a good review?
5Remember this
Three types of review: self, peer and critical
1Think first
2The idea, in plain words
Reviews can come from different people at different stages of a performance. There are three main types:
| Type | Who reviews | When | Purpose |
| Self-review | The creators themselves — actors, writers, directors, crew | During preparation, before presenting to the audience, and after the show | To check their own work and find ways to improve |
| Peer review | Contemporaries in the same field — fellow students, other theatre groups, artists | Before or after the show | To give suggestions from people who understand the craft |
| Critical review | Anyone after the show, especially critics and informed viewers | After the performance | A detailed analysis of all aspects — strengths, weaknesses and scope for improvement |
Self-review is the most personal and often the hardest. It means watching a video of your rehearsal, listening to a recording of your voice, or thinking honestly after each session: Was I audible? Did I miss a cue? Did my costume help or hinder? The self-assessment columns at the end of each chapter, where you grade yourself alongside your teacher, are self-review.
Peer review comes from people who share your experience. In Chapter 3, the class listened to the script and gave suggestions to the writing team, and teachers watched the run-through and gave feedback — both were forms of peer review. Peers can see what you cannot see from inside the work, and because they understand the challenges, their suggestions are practical.
Critical review is the formal, detailed analysis of a finished performance, the kind published by theatre critics in newspapers, magazines and websites. A critic considers every element and judges the work as a whole. India has a rich tradition of theatre criticism in English and in Indian languages, and reading professional reviews of plays is a good way to learn how critics think.
Which is most important? All three work together. Self-review builds honesty and independence; peer review gives practical help during the process; critical review gives a complete, outside judgement. A good artist uses all three.
Receiving reviews. Whichever type it is, listen calmly, separate useful points from mere opinion, and thank the reviewer. Ask yourself whether you can accept reviews from others as fairly as you give them.
- Self-review — by the creators, before and after presenting.
- Peer review — by contemporaries in the field, before or after the show.
- Critical review — by anyone after the show, a detailed analysis of all aspects.
3Worked example
- An actor watches a video of her rehearsal and notices she turns her back to the audience in Scene 2 — self-review.
- Another section of Class 8 watches your run-through and suggests a faster scene change — peer review.
- A theatre critic writes in a newspaper about a professional production of ‘Andher Nagri’, analysing its acting, music and design — critical review.
4Your turn
Fellow students who are also doing theatre watch your rehearsal and give suggestions. This is —
5Remember this
Preparing to review a play
1Think first
2The idea, in plain words
Being a reviewer does not mean simply going and sitting in the audience. A reviewer has a responsibility to prepare, so that the review is informed and fair. Before the show, work through these steps.
1. Research the play. Find out the name of the play, the playwright and the basic plot — without reading spoilers. If it is a famous or historical play, learn something about its time period and setting. Knowing, for example, that Andher Nagri is a nineteenth-century satire helps you appreciate its humour.
2. Know the genre. Is it a comedy, tragedy, musical, historical drama, mystery or modern experimental play? The genre tells you what to expect and lets you judge the play by the right standards. You would not criticise a farce for being exaggerated — exaggeration is its nature.
3. Find out about the performing team. Are they professionals, college students, school students or a community group? A first production by a village youth group should be viewed with that in mind, just as a professional company is expected to meet high technical standards. Knowing the team helps you understand their point of view.
4. Keep a journal. Carry a small notebook and pen. Jot down thoughts quickly during scene breaks, the interval or right after the show, before you forget details. Do not write constantly during the performance — you will miss what is happening and may disturb others.
5. Check your mindset. Go with an open mind, ready to enjoy and observe. A reviewer must be honest but fair and respectful. If your best friend is the lead actor, or you dislike a particular group, admit that bias to yourself and set it aside; a biased review is not an honest review.
6. Revise what you intend to observe. Remind yourself of the elements you will watch for: acting, set, costumes, lights and sound, story, flow, and how errors were handled. (These are explained in the next topic.)
7. Have no fixed expectations. Every production is different. Do not expect a stage play to look like a film, or a new production to copy a version you saw earlier. Judge what is in front of you.
Make it a habit. Watch plays whenever you can — in any language and of any genre. Ask your school to organise trips to see plays, go with family and friends, and write a review of every performance you watch. Each review sharpens your eye.
- Seven preparation steps: research the play, know the genre, know the team, keep a journal, open and fair mindset, revise what to observe, no fixed expectations.
- A biased review is not an honest review.
3Worked example
- Before watching a Yakṣagāna performance, a student reads about its mix of dance, music and dialogue so she knows what to look for.
- A reviewer notes that a play is performed by a first-year college group and judges the technical side accordingly.
- A student whose cousin is in the cast writes in his journal: ‘Be careful not to be biased in favour of Rohan’s scenes.’
4Your turn
Why should a reviewer find out about the performing team before the show?
5Remember this
What to observe during a performance
1Think first
2The idea, in plain words
A good reviewer watches with purpose. Here are the main elements to observe, with questions to guide you.
| Element | Questions to ask |
| Acting | Were the performances believable and emotional? Could you hear every line? Did voice, expression and movement suit the character? Did actors stay in character? |
| Set design | Did the stage support the story? Was it practical and imaginative? Did it suggest the place and time clearly? |
| Costumes and make-up | Did they match the time, place and character? Did they help you tell characters apart? |
| Lights and sound | Did they add to the mood? Were cues on time? Was the music too loud or well balanced? |
| Story | Was it clear and engaging, or confusing? Did the conflict hold your interest? Was the ending satisfying? |
| Flow | Was there a smooth flow from one scene to the next? Were entries and exits within a scene smooth? Was the pace right, or did parts drag? |
| Errors | Were any mistakes visible — a forgotten line, a fallen prop, a light failure? How were they handled? |
Other things worth noticing: the direction (how the whole production was shaped and how actors were placed on stage), the use of music, dance, puppetry or mime and whether they fitted naturally, the audience's reactions (where they laughed, went silent or clapped), and the message or idea the play left you with.
How to observe without missing the show.
- Watch first as an audience member; let the play affect you. Your own feelings are important evidence.
- Note specific moments, not general impressions: ‘the moment the old woman lifted the lamp and the stage went blue’ is far more useful than ‘lighting was nice’.
- Jot short keywords at scene breaks and the interval; expand them right after the show.
- Notice both strengths and weaknesses in each area.
Errors deserve a fair eye. In live theatre, mistakes happen. Often the most impressive thing a reviewer can note is how well a team recovered — an actor who improvised smoothly, or a crew that fixed a problem silently. Remember the lesson of Chapter 3: the show must go on. A reviewer recognises that spirit.
After observing, sort your notes under the headings above. You now have the raw material for your review.
- Elements to observe: acting, set design, costumes and make-up, lights and sound, story, flow, handling of errors.
- Observation rule: note specific moments, not vague impressions.
3Worked example
- Note: ‘Scene 4 — the shadow puppets of the tiger against the orange light were the most memorable image of the play.’
- Note: ‘Costumes of the villagers matched rural Rajasthan, but the king's crown looked too modern.’
- Note: ‘When the music failed in Scene 2, the chorus clapped the rhythm — excellent recovery.’
4Your turn
Which note is most useful for writing a review?
5Remember this
Writing the review: rules and structure
1Think first
2The idea, in plain words
You have watched the performance and made notes; now you have many thoughts waiting to be expressed. Before you write, keep these rules in mind.
- Do not be mean or personal. Critique the performance, not the person. Never insult an actor, director or team. ‘The dialogue in Act 2 was hard to hear’ is fair; ‘the actor is hopeless’ is not.
- No spoilers. If the story depends on a surprise, do not reveal it.
- Justify your opinions. Avoid empty phrases like ‘it was not bad’ or ‘nice’. Explain why something worked or needed improvement.
- Balance positives and negatives. Even if you did not enjoy the play, find and mention something good. The main purpose is to help the team improve.
- Neither too long nor too short. Detailed but easy to read; about 300 words is good for a beginner.
A simple structure keeps your review in order and easy to read, while leaving room for your own style:
| Part | What to include | Approx. words |
| 1. Introduction | Title, playwright or source, performing group, venue, date, genre; an opening line that catches the reader | 40–50 |
| 2. The story | Brief outline of the plot and theme without spoilers | 50–60 |
| 3. Performances | Acting and direction, with specific moments | 70–80 |
| 4. Design and technical | Set, costume, make-up, lights, sound, music and dance | 60–70 |
| 5. Conclusion | Overall judgement, one or two suggestions, and whether you would recommend it and to whom | 40–50 |
Make it vivid. Use descriptive language so that the reader can picture the moment: ‘As the drums rose, the dancers spun into a whirl of red and gold.’ A review should make the reader feel they have seen the performance.
Revise. Read your draft aloud. Remove repetition, check that every opinion has a reason, and make sure you have been fair.
Check your review against this list: Did I name the play, team and genre? Did I avoid spoilers? Did I give at least two strengths and one suggestion, each with a reason? Did I criticise the work and not the person? Is it around 300 words? Would a reader understand what the play was like?
You may also read your review aloud to the class, using the voice skills of Chapter 1 — volume, pitch, diction and intonation — to make the reading lively.
- Review rules: not personal, no spoilers, justify opinions, balance positives and negatives, about 300 words.
- Structure: introduction → story (no spoilers) → performances → design and technical → conclusion and recommendation.
3Worked example
- Weak: ‘The play was not bad.’ Strong: ‘The play held our attention because each scene ended on a small surprise.’
- Personal (avoid): ‘Rohit cannot act.’ Fair: ‘The king's anger in the court scene would be stronger with more volume and slower pace.’
- A no-spoiler line: ‘The detective's final discovery will surprise even the sharpest viewer.’
4Your turn
Which line breaks a rule of review writing?
5Remember this
Watching, reflecting and growing as a performer
1Think first
2The idea, in plain words
Reviewing is a skill that grows with practice. You can practise even when no live play is available, and every review you write also changes how you perform.
Reviewing from photographs. Look at production photographs — from newspapers, theatre festival websites, or your own school's documentation — and write a short review based on what you can see:
- What is the genre? Look at the costumes, colours, expressions and setting for clues.
- What scene is being enacted? Observe each actor's position, gesture and expression. Imagine and write a few possible lines of dialogue.
- What is your opinion on the lighting, costumes, make-up and props shown?
This trains your eye to read a stage picture, an important part of reviewing.
Reading professional reviews. Read reviews of plays in newspapers and magazines, in English and in your own language. Notice how critics open their reviews, how they support their opinions, and how they balance praise and criticism. Find out about well-known theatre critics in India and the regions, and what kind of work they write about. This helps you understand the role of a critic in the world of theatre.
What reviewing teaches the performer. Once you understand the review process, you see your own performance differently:
- You know what audiences and reviewers notice — audibility, believable emotion, smooth transitions, well-fitted costumes — so you work on those.
- You become better at self-review, spotting your own weaknesses before others do.
- You learn to accept reviews calmly. If you expect others to accept your reviews fairly, you must accept theirs in the same spirit.
How to receive a review:
- Read or listen fully before reacting.
- Separate specific, useful points from vague opinions.
- Do not take criticism of the work as an attack on you.
- Thank the reviewer and pick one or two points to work on.
Bringing it all together. As a final assessment activity, you might write a simple review of a performance you have seen and read it aloud, using voice skills such as volume, pitch, diction and intonation, as creatively and dramatically as possible. In groups, you might take a story from your Social Science or English textbook, write a script with characters and scenes, add music and dance, and perform a three-minute show — then review one another's work. The full class production of about 30 minutes is the culmination of everything you have learnt in the Middle Stage, both theatre skills and life skills.
- Photo review questions: genre, scene and possible dialogues, opinion on lighting, costumes, make-up and props.
- Receiving a review: listen fully, separate useful points, do not take it personally, thank, pick points to work on.
3Worked example
- From a photo of actors in bright masks under red light, a student guesses the genre is a mythological drama and writes lines for the demon king.
- A student reads a newspaper review of a Hindi play and notes how the critic praised the music while gently criticising the long first act.
- After a peer review says he spoke too fast, an actor practises pace and pauses from Chapter 1 and improves.
4Your turn
A classmate reviews your performance and says your lines were hard to hear. What is the best response?
5Remember this
Key Concepts
- Audience
- The people who watch a performance and whose attention and response complete it.
- Audience etiquette
- The accepted rules of respectful behaviour for spectators at a performance.
- Applause
- Clapping or other shows of approval given to performers at the right moments.
- Standing ovation
- Rising from one's seat to applaud, the highest form of audience appreciation.
- Siddhi
- In the Nāṭyaśāstra, the success or accomplishment of a performance as shown by the audience's response.
- Mānuṣī siddhi
- Human success of a performance, shown through ten kinds of visible and audible audience reactions.
- Daivikī siddhi
- Divine success of a performance, a state of complete absorption with a full, undisturbed hall.
- Vāṅmayī and śārīrī
- The vocal and physical channels through which an audience expresses appreciation.
- Review
- A thoughtful description and evaluation of a performance, product or experience, noting what worked, what could improve and how well the goal was met.
- Self-review
- A review done by the creators themselves to check and improve their own work.
- Peer review
- A review by contemporaries in the same field, given before or after a show.
- Critical review
- A detailed analysis of all aspects of a finished performance, including strengths, weaknesses and scope for improvement.
- Critic
- A person who professionally reviews and evaluates works of art and performance.
- Bias
- An unfair leaning for or against someone that prevents an honest judgement.
- Spoiler
- Information that reveals a surprise or ending and spoils the experience for others.
- Justification
- The reason or evidence given to support an opinion in a review.
- Flow
- The smoothness of movement from one scene to the next and of entries and exits within scenes.
End-of-Chapter Trial Paper & Test Questions
Topic-wise questions to test your understanding of every concept in this chapter.
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Which of these is NOT good audience behaviour? (a) Arriving on time (b) Switching off the phone (c) Talking with friends during a scene (d) Applauding at the end / इनमें से कौन-सा अच्छे दर्शक का व्यवहार नहीं है? (a) समय पर पहुँचना (b) फ़ोन बंद करना (c) दृश्य के दौरान दोस्तों से बातें करना (d) अंत में तालियाँ बजाना
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(c) Talking with friends during a scene — it distracts the actors and the other spectators; comments should wait for the interval. / (c) दृश्य के दौरान दोस्तों से बातें करना — इससे अभिनेताओं और अन्य दर्शकों का ध्यान भटकता है; अपनी बातें मध्यांतर तक रोककर रखनी चाहिए।
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According to the Nāṭyaśāstra, the two channels through which appreciation is expressed are — (a) vocal and physical (b) written and printed (c) loud and soft (d) royal and common / नाट्यशास्त्र के अनुसार प्रशंसा व्यक्त करने के दो माध्यम कौन-से हैं? (a) वाचिक (वाणी) और शारीरिक (b) लिखित और मुद्रित (c) ऊँचा और धीमा (d) राजसी और साधारण
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(a) vocal and physical — vāṅmayī through speech and exclamations, and śārīrī through the body, such as clapping, standing up and giving gifts. / (a) वाचिक और शारीरिक — वाङ्मयी अर्थात् वाणी और उद्गारों द्वारा, तथा शारीरी अर्थात् शरीर द्वारा, जैसे तालियाँ बजाना, खड़े होना और उपहार देना।
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A review done by the creators themselves before presenting a show is called — (a) peer review (b) critical review (c) self-review (d) audience review / प्रस्तुति से पहले स्वयं रचनाकारों द्वारा की गई समीक्षा क्या कहलाती है? (a) सहकर्मी (पीयर) समीक्षा (b) आलोचनात्मक समीक्षा (c) स्व-समीक्षा (d) दर्शक समीक्षा
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(c) self-review — the creators examine their own work and look for ways to improve before presenting it to the audience. / (c) स्व-समीक्षा — रचनाकार दर्शकों के सामने प्रस्तुत करने से पहले अपने काम को स्वयं जाँचते हैं और सुधार के उपाय खोजते हैं।
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Which of these should a reviewer avoid? (a) Justifying opinions (b) Mentioning strengths (c) Revealing the surprise ending (d) Writing about lights and sound / समीक्षक को इनमें से किससे बचना चाहिए? (a) अपनी राय के कारण देना (b) अच्छाइयों का उल्लेख करना (c) चौंकाने वाला अंत बता देना (d) प्रकाश और ध्वनि के बारे में लिखना
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(c) Revealing the surprise ending — a spoiler ruins the experience for future viewers; a review should evaluate without giving away surprises. / (c) चौंकाने वाला अंत बता देना — ऐसा 'स्पॉइलर' भविष्य के दर्शकों का अनुभव बिगाड़ देता है; समीक्षा को रहस्य खोले बिना मूल्यांकन करना चाहिए।
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About how many words is suggested as a good length for a beginner's review? (a) 30 (b) 300 (c) 3,000 (d) 30,000 / शुरुआती समीक्षक की समीक्षा के लिए लगभग कितने शब्द उचित बताए गए हैं? (a) 30 (b) 300 (c) 3,000 (d) 30,000
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(b) 300 — around 300 words is detailed enough to cover the main elements yet short and easy to read. / (b) 300 — लगभग 300 शब्द मुख्य पक्षों को शामिल करने के लिए पर्याप्त विस्तृत होते हुए भी छोटे और पढ़ने में सरल होते हैं।
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Why should a reviewer find out the genre of a play before watching it? (a) To judge it by the right standards and watch with the right mindset (b) To avoid watching it (c) To copy the poster (d) Genre has no use in reviewing / नाटक देखने से पहले समीक्षक को उसकी विधा क्यों जाननी चाहिए? (a) सही मानकों से परखने और सही मनोभाव से देखने के लिए (b) उसे देखने से बचने के लिए (c) पोस्टर की नकल करने के लिए (d) समीक्षा में विधा का कोई उपयोग नहीं
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(a) To judge it by the right standards and watch with the right mindset — for example, a farce should not be criticised for exaggeration, which is its nature. / (a) सही मानकों से परखने और सही मनोभाव से देखने के लिए — उदाहरण के लिए, प्रहसन की अतिशयोक्ति के लिए आलोचना नहीं करनी चाहिए, क्योंकि वही उसका स्वभाव है।
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What is a review? Why is good reviewing not just fault-finding? / समीक्षा क्या है? अच्छी समीक्षा केवल दोष निकालना क्यों नहीं है?
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A review is the thoughtful observation of a performance, product or experience, followed by reflection and feedback, so that others can understand its elements and spirit. It looks at what worked well, what could be improved and how effectively the goal was achieved. Good reviewing is not just fault-finding because its purpose is to help the performers improve and to help readers understand the work. That requires appreciating strengths, noticing details others may miss and offering practical suggestions. A review full only of faults discourages and misleads, just as one full only of praise gives no direction. Reviewing makes us careful observers, sensitive listeners and respectful communicators. / समीक्षा किसी प्रस्तुति, वस्तु या अनुभव का विचारपूर्वक अवलोकन, उस पर चिंतन और प्रतिक्रिया है, ताकि अन्य लोग उसके तत्त्वों और भावना को समझ सकें। इसमें देखा जाता है कि क्या अच्छा रहा, क्या सुधारा जा सकता है और लक्ष्य कितनी प्रभावी ढंग से प्राप्त हुआ। अच्छी समीक्षा केवल दोष निकालना नहीं है क्योंकि उसका उद्देश्य कलाकारों को सुधार में मदद करना और पाठकों को कृति समझने में सहायता देना है। इसके लिए अच्छाइयों की सराहना, उन बारीकियों पर ध्यान जिन्हें दूसरे चूक सकते हैं, और व्यावहारिक सुझाव देना आवश्यक है। केवल दोषों से भरी समीक्षा हतोत्साहित करती है और भ्रमित करती है, जैसे केवल प्रशंसा से भरी समीक्षा कोई दिशा नहीं देती। समीक्षा हमें सावधान पर्यवेक्षक, संवेदनशील श्रोता और सम्मानपूर्वक बात कहने वाला बनाती है।
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Explain the three types of review with one example each. / समीक्षा के तीन प्रकारों को एक-एक उदाहरण सहित समझाइए।
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Self-review is done by the creators themselves to examine their work and improve it before presenting it; for example, an actor watches a video of her rehearsal and notices she turns her back to the audience. Peer review comes from contemporaries in the same field, before or after the show; for example, another section of Class 8 watches the run-through and suggests faster scene changes. Critical review is obtained from everyone after the show, especially critics, and gives a detailed analysis of all aspects, including strengths, weaknesses and scope for improvement; for example, a newspaper critic analyses the acting, music and design of a professional production. All three together help a production grow. / स्व-समीक्षा रचनाकार स्वयं करते हैं, ताकि प्रस्तुत करने से पहले अपने काम की जाँच कर उसे सुधार सकें; उदाहरण के लिए, एक अभिनेत्री अपने पूर्वाभ्यास का वीडियो देखकर पाती है कि वह दर्शकों की ओर पीठ कर लेती है। सहकर्मी समीक्षा उसी क्षेत्र के समकालीन लोग प्रस्तुति से पहले या बाद में देते हैं; उदाहरण के लिए, कक्षा 8 का दूसरा वर्ग पूर्ण पूर्वाभ्यास देखकर दृश्य-परिवर्तन तेज़ करने का सुझाव देता है। आलोचनात्मक समीक्षा प्रस्तुति के बाद सभी से, विशेषकर आलोचकों से, प्राप्त होती है और इसमें सभी पक्षों — अच्छाइयों, कमियों और सुधार की संभावनाओं — का विस्तृत विश्लेषण होता है; उदाहरण के लिए, किसी समाचार-पत्र का आलोचक एक व्यावसायिक प्रस्तुति के अभिनय, संगीत और सज्जा का विश्लेषण करता है। तीनों मिलकर किसी प्रस्तुति को बेहतर बनाते हैं।
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List the rules you should follow when writing a review, and outline a structure for it. / समीक्षा लिखते समय पालन किए जाने वाले नियम बताइए और उसकी रूपरेखा प्रस्तुत कीजिए।
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Rules: do not be mean or personal — critique the performance, not the person; give no spoilers; avoid empty phrases like ‘not bad’ and justify every opinion with a reason; balance positives and negatives, mentioning something good even if you did not enjoy the play; keep it neither too long nor too short, about 300 words for a beginner. Structure: (1) introduction — title, playwright, performing group, venue, genre and a catchy opening; (2) the story — a brief outline without spoilers; (3) performances — acting and direction with specific moments; (4) design and technical — set, costume, make-up, lights, sound, music and dance; (5) conclusion — overall judgement, a suggestion and a recommendation. / नियम: कटु या व्यक्तिगत न हों — व्यक्ति की नहीं, प्रस्तुति की आलोचना करें; रहस्य न खोलें; 'बुरा नहीं था' जैसे खोखले वाक्यों से बचें और हर राय का कारण दें; अच्छाइयों और कमियों में संतुलन रखें, नाटक पसंद न आए तब भी कुछ अच्छा अवश्य बताएँ; समीक्षा न बहुत लंबी हो न बहुत छोटी, शुरुआत में लगभग 300 शब्द। रूपरेखा: (1) परिचय — शीर्षक, नाटककार, प्रस्तुत करने वाला दल, स्थान, विधा और आकर्षक आरंभ; (2) कहानी — रहस्य खोले बिना संक्षिप्त रूपरेखा; (3) अभिनय — विशेष क्षणों के साथ अभिनय और निर्देशन; (4) सज्जा और तकनीकी पक्ष — मंच-सज्जा, वेशभूषा, रूप-सज्जा, प्रकाश, ध्वनि, संगीत और नृत्य; (5) निष्कर्ष — समग्र मूल्यांकन, एक सुझाव और किसे देखना चाहिए इसकी अनुशंसा।
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How does learning to review make you a better performer? / समीक्षा करना सीखने से आप बेहतर कलाकार कैसे बनते हैं?
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When you learn what reviewers observe — audibility, believable emotion, suitable costumes, mood-building lights and sound, a clear story and smooth flow — you start paying attention to these in your own performance. You become better at self-review, spotting your own weaknesses during rehearsal before others point them out. You also learn to accept reviews calmly and fairly: if you expect others to accept your feedback, you must take theirs in the same spirit, separating useful points from mere opinion and working on them. Watching and reviewing others also gives you ideas for voice, staging and design that you can use in your own work. / जब आप जान लेते हैं कि समीक्षक किन बातों पर ध्यान देते हैं — स्पष्ट सुनाई देना, विश्वसनीय भाव, उपयुक्त वेशभूषा, वातावरण बनाने वाले प्रकाश और ध्वनि, स्पष्ट कहानी और सहज प्रवाह — तो आप अपनी प्रस्तुति में भी इन पर ध्यान देने लगते हैं। आप स्व-समीक्षा में कुशल हो जाते हैं और दूसरों के बताने से पहले ही पूर्वाभ्यास में अपनी कमियाँ पहचान लेते हैं। आप समीक्षाओं को शांति और निष्पक्षता से स्वीकार करना भी सीखते हैं: यदि आप चाहते हैं कि दूसरे आपकी प्रतिक्रिया स्वीकार करें, तो आपको भी उनकी प्रतिक्रिया उसी भावना से लेनी चाहिए, उपयोगी बातों को केवल राय से अलग करके उन पर काम करना चाहिए। दूसरों को देखने और उनकी समीक्षा करने से आपको आवाज़, मंच-संयोजन और सज्जा के ऐसे विचार भी मिलते हैं जिनका आप अपने काम में उपयोग कर सकते हैं।