During the 2022 R&D process for The Broad Cloth, our team was joined by embedded critic Diana Miranda. This page is a hub for her responses to the work.
As you may know, the most standard practice of embedded criticism is to watch rehearsals and write about them in texts that read more like reflections rather than judgements. I haven't approached a project during research sessions yet, but since it's all part of a development arc, the principle still applies. I like to call embedded criticism a long-term criticism because it has a higher extent of engagement compared to the traditional theatre reviewing, and my approach is to see theatre-making as something fluid and larger than the show itself, and whose reception is equally fluid and diverse. I like to acknowledge that fluidity and diversity instead of creating the illusion of objectivity with set-in-stone, one-night reviews.